MYSTIC CHORD HARMONIC AND LIGHT TRANSFORMATIONS IN

ALEXANDER SCRIABIN’S PROMETHEUS

by

TYLER MATTHEW SECOR

A THESIS

Presented to the School of Music and Dance

and the Graduate School of the University of Oregon

in partial fulfillment of the requirements

for the degree of

Master of Arts

September 2013

ii

THESIS APPROVAL PAGE

Student: Tyler Matthew Secor

Title: Mystic Chord Harmonic and Light Transformations in Alexander Scriabin’s

Prometheus

This thesis has been accepted and approved in partial fulfillment of the requirements for

the Master of Arts degree in the School of Music and Dance by:

Dr. Jack Boss Chair

Dr. Stephen Rodgers Member

Dr. Frank Diaz Member

and

Kimberly Andrews Espy Vice President for Research and Innovation

Dean of the Graduate School

Original approval signatures are on file with the University of Oregon Graduate School.

Degree awarded September 2013

iii

© 2013 Tyler Matthew Secor

iv

THESIS ABSTRACT

Tyler Matthew Secor

Master of Arts

School of Music and Dance

September 2013

Title: Mystic Chord Harmonic and Light Transformations in Alexander Scriabin’s

Prometheus

This thesis seeks to explore the voice leading parsimony, bass motion, and

chromatic extensions present in Alexander Scriabin’s Prometheus. Voice leading will be

explored using Neo-Riemannian type transformations followed by network diagrams to

track the mystic chord movement throughout the symphony. Bass motion and chromatic

extensions are explored by expanding the current notion of how the luce voices function

in outlining and dictating the harmonic motion. Syneathesia will also be examined as a

composition device used to create the light, harmony, and drama of Prometheus.

v

CURRICULUM VITAE

NAME OF AUTHOR: Tyler Matthew Secor

GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED:

University of Oregon, Eugene, Oregon

Manchester College, North Manchester, Indiana

Loyola University of Chicago, Chicago, Illinois

DEGREES AWARDED:

Master of Arts, Music Theory, 2013, University of Oregon

Bachelor of Science, Music Theory and Composition and Piano Performance,

2010, Manchester College

Bachelor of Social Work, 2007, Loyola University of Chicago

AREAS OF SPECIAL INTEREST:

Applying Neo-Riemannian theory to atonal works

Modeling Schenkerian analysis for atonal works

Music Theory pedagogy as it applies to students with learning disabilities

PROFESSIONAL EXPERIENCE:

Music Theory Teaching Assistant, Manchester College, North Manchester,

Indiana, 2009-2010

Addiction Specialist, AIDS Task Force, Fort Wayne, Indiana, 2007-2009

Youth Program Intern, Center on Halsted, Chicago, Illinois, 2005-2007

vi

ACKNOWLEDGMENTS

I must first thank my thesis committee who were all patient, kind, and thoughtful

throughout the thesis writing and submitting process. A special thank you must go to Dr.

Debra Lynn, without her persistent nudging and support I would have lost faith many

times along my life path. To Dr. Tim Reed and Dr. Debora DeWitt: thank you for your

excellent teaching that instilled the knowledge and the wonder that is music theory. And

to Mr. Zachary Blatz, thank you for being a rock in the stormy seas of graduate school.

vii

TABLE OF CONTENTS

Chapter Page

I. INTRODUCTION ........................................................................................... 1

Transformational Theory ..................................................................... 5

Bass Motion ......................................................................................... 6

Chromatic Extensions .......................................................................... 6

Synesthesia as a Compositional Device ............................................... 6

II. VOICE LEADING PATTERNS OF THE MYSTIC CHORD ....................... 13

Network Diagrams ............................................................................... 22

III. BASS MOTION............................................................................................... 27

IV. MYSTIC CHORD CHROMATIC EXTENSIONS ......................................... 36

V. SYNESTHESIA AS A COMPOSITIONAL DEVICE ................................... 46

VI. EXCERPT CASE STUDIES ........................................................................... 49

VII. TRANSFORMATIONS AND BEYOND ....................................................... 57

APPENDICES

A: P, S AND C TRANSFORMATIONS ......................................................... 60

B: VOICE LEADING DIAGRAMS ............................................................... 93

REFERENCES CITED ................................................................................................ 103

viii

LIST OF MUSICAL EXAMPLES

Musical Example Page

1. P2 transforamtion with octave transfer ............................................................. 15

2. P2 and S transformation ................................................................................... 16

3. Standard P2 transformation .............................................................................. 17

4. C transformation that eliminates the potential for a limbo pitch ..................... 19

5. C transformation that moves the limbo pitch to a pitch held in common ........ 20

6. C transformation that removes the limbo pitch................................................ 21

7. Op. 58 I to V bass relationship......................................................................... 29

8. Op. 58 movement between C and F ................................................................. 29

9. Altered bass where higher pitches remain unaltered ....................................... 30

10. Altered bass where higher pitches remain unaltered ..................................... 31

11. Altered bass to create perfect fifth ................................................................. 32

12. Altered bass to create perfect fourth .............................................................. 33

13. Altered second lowest bass pitch ................................................................... 33

14. Slow luce voice takes over the fast luce voice’s role ..................................... 37

15. Nonharmonic tone .......................................................................................... 38

16. Chromatic extensions ..................................................................................... 40

17. Chromatic extensions #2 ................................................................................ 41

18. C and F# aggregate ........................................................................................ 42

19. C and A aggregate ........................................................................................ 42

20. D, F, and A aggregate ................................................................................... 43

21. Chromatic extension to create I and V relationship in the bass ..................... 44

22. Chromatic extension in bass F# ..................................................................... 44

23. Chromatic extension to create I and V relationship in the bass #2 ................ 45

24. Chromatic extension to create I and V relationship in the bass #3 ................ 45

25. Foreshadowing aggregates through chromatic extension .............................. 55

ix

LIST OF FIGURES

Figure Page

1. P relations...................................................................................................... 14

2. Split and Fuse transformations...................................................................... 15

3. Common Tone Half Step transformation ...................................................... 19

4. Network diagram .......................................................................................... 22

5. Network diagram showing diminished triangle ............................................ 25

6. Network diagram showing two diminished triangles ................................... 25

x

LIST OF TABLES

Table Page

1. Home chords ................................................................................................. 23

2. Mystic chord roots and color associations .................................................... 52

1

CHAPTER I

INTRODUCTION

In 1901, while staying in Brussels, Belgium, Alexander Nikolayevich Scriabin

(1871-1915) in 1909 commenced writing his fifth symphony – a symphony that would

become his legacy. Scriabin finished the fifth symphony, titled Prometheus: Poem of

Fire, in Moscow, Russia in 1910. Prometheus received its first public hearing on March

2, 1911 in Moscow under the baton of Sergius Kussevitzsky with Scriabin himself at the

piano.1

Prometheus is an enormous composition calling for an oversized orchestra with a

large battery of auxiliary instruments (i.e. piano, organ, mixed chorus, light organ, harps,

etc.). A large orchestra was nothing new in 1911; however, the harmonic language that

Scriabin uses in the symphony is revolutionary. The so-called mystic chord or set class

6-34 is the harmonic support for the entire symphony. Because the piece develops its

own harmonic language, based on the mystic chord, and does not follow the long-

standing major/minor harmonic system, many listeners found the composition to be

unintelligible. In fact, when the piece premiered in London (January 2, 1913), the

symphony was played twice “with the idea that a second hearing would make the work

more easily intelligible.”2 The reviews of the symphony fell into two distinct camps that

“either condemned the work whole-heartedly or else confessed themselves mystified.”3

1 Eaglefield A. Hull, A Great Russian Tone-Poet: Scriabin. London: Kegan Paul, Trench, Trubner and Co.,

LTD., 1927.

2 Hull, A Great Russian Tone-Poet: Scriabin, 61.

3 Ibid., 61.

2

Rosa Newmarch, who wrote the program notes for the London debut of

Prometheus, gives the first account of the melodic, harmonic, and symbolist content. She

describes the mystic chord as being derived from the harmonic series and establishes it as

the basic harmonic unit. Newmarch also describes the mystic chord as “the chord of the

ninth with the augmented fifth.”4 After establishing the basic harmonic unit of the

composition, Newmarch describes the role of the piano, which is to “personify the

Microcosm [of] man in contrast to the Macrocosm of the Cosmic Idea, represented by the

orchestra.”5 The remaining portion of the article is devoted to correlating the melodic

content with the symbolist narrative that this piece embodies. For example, Newmarch

describes the dance melody in mm. 47-50 as the commencement of the awaking process

where the human race, initially formless, begins to gain embodiment and shape.6 In

Newmarch’s notes, she states that the “design of ‘Prometheus’ approximates to sonata-

form,” which Josef-Horst Lederer and James Baker delineate in their research.7

Lederer explains that the light has its own form and the music has its own form.8

The music follows a standard sonata form, which includes a coda; however, Lederer

noticed that the musical sonata form does not coincide with the three sections of the light

symphony. Lederer concludes that the color sections are divided by the golden mean and

4 Rosa Newmarch, “’Prometheus’: The Poem of Fire.” The Musical Times 55, no. 854 (1914): 230.

5 Ibid., 230.

6 Ibid., 230.

7 Ibid., 203.

8 Horst-Lederer, Josef. "Die Funktion der Luce-Stimme in Skrjabins op. 60." In Alexander Skrjabin, edited

by Otto Kolleritsch, 128-141. Graz: Universal Edition, 1980.

3

that each of the sonata form’s sections comprises one-third of the composition.9 Because

of the lack of sectional constancy between the light and music, Lederer suggests that the

two act as counterpoints with one another instead of an indissoluble artistic whole. Baker

also describes the symphony’s form as sonata and supports his sonata form reading with

melodic and bass motion specifics.10

Baker develops a highly detailed motivic analysis,

which he uses to inform and reinforce his sonata form sectional delineations. Baker’s

analysis of the background bass motion also suggests sonata form; wherein the exposition

establishes I, the development moves to IV and prepares the dominant, the dominant

appears in the recapitulation and the coda closes in the tonic.11

If the harmonic language in and of itself is not revolutionary enough for the

listener, then consider the role that light plays in this symphony. Scriabin wrote a part for

a light organ, an instrument that had not been invented yet, that helped to tell the

symbolist story of Prometheus. Scriabin imagined this symphony to be a symphony of

both light and sound in much the same way people with synesthesia experience music.

Synesthesia is a cross-modal experience where a listener sees color in response to sound

stimuli. Scriabin goes to great lengths to lock together the light organ part and the

harmonic background support of this composition.

The combination of light and music was so profound that after the March 20,

1915 performance at Carnegie Hall in New York City, the New York Times ran an article

9 Ibid.

10

Baker, James. The Music of Alexander Scriabin. New Haven: Yale University Press, 1986.

11

Ibid. Baker’s bass motion analysis will be discussed in depth in Chapter III.

4

entitled, “‘Color Music’ Tried Here for First Time.”12

The article focuses on the

workings of the newly designed light organ and the difficulty in interpreting Scriabin’s

light and music associations. Danuta Mirka explains the association between light and

music in her 1996 article.13

Here she describes that the light organ part (luce) is divided

into two voices, a slow and a fast moving voice. The fast voice is devoted to outlining

the root of the mystic chord being voiced by the orchestra and the slower voice (acting as

pedal points) outlines the esoteric meaning of the symphony.14

Mirka explains how each

of these pedal points is related to theosophical doctrine and the esoteric meaning of the

composition. Anna Gawboy expands on the esoteric meaning of the symphony in her

recent dissertation; wherein she summarizes Scriabin’s “metaphysical source texts” and

shows how these texts inform Scriabin’s composition of the symphony and how these

texts can inform analytical interpretations of the symphony.15

Gawboy also shows how

the light colors are related and derived from these important source texts and aid in

understanding not only the esoteric meaning of the composition, but also the musical

structure of Prometheus.

This thesis seeks to understand why one group was “mystified” by this symphony

and to suggest how we might be “de-mystified.” I will examine the relationships

between the mystic chords (the basic harmonic support), the significance of bass motion,

12

"'Color Music' Tried Here for First Time." The New York Times. March 28, 1915.

13

Mirka, Danuta. "Colors of a Mystic Fire: Light and Sound in Scriabin's Prometheus." The American

Journal of Semiotics 13, no. 1-4 (1996): 227-248.

14

Ibid.

15

Anna Gawboy, "Alexander Scriabin's Theurgy in Blue: Esotericism and the Analysis of Prometheus:

Poem of Fire op. 60." PhD diss., -Yale University, 2010, i.

5

how chromatic extensions are used in this mystic chord harmonic system, and how light

and sound come together to create a new compositional device in Prometheus.

Transformational Theory

In various transpositions, the mystic chord acts as the basic harmonic content of

this symphony. Through transformations of the mystic chord, Scriabin creates a seamless

background sound. The relationships between mystic chord transformations can be

examined by considering voice-leading patterns and Neo-Riemannian type relations.

Clifton Callender examines voice leading parsimony in Scriabin’s music. Callender’s

theory seeks to show transformations between pitch class sets of different sizes, primarily

between six, seven and eight note sets. Callender’s transformational ideas are also

helpful in examining relations between pitch class sets of the same size; therefore, his

transformational theory is helpful in understanding the relations between two

transpositions of the mystic chord.16

The specific transformations Callender describes

will be discussed in depth in Chapter II. In Callender’s article only brief musical

examples were used to illustrate his transformational theory, this thesis will give a full

deployment of this theory, adding a transformation process I designed. Employing

Clifton Callender’s transformational procedures17

will help me to devise my own system

for Scriabin’s music that will track the voice leading patterns throughout the composition.

Secondly, network diagrams can be built to show graphical interpretations of the voice

leading patterns.

16

Clifton Callender, "Voice-Leading Parsimony in the Music of Alexander Scriabin." Journal of Music

Theory 42, no. 2 (1998): 219-233.

17

Ibid.

6

Bass Motion

With Callender’s transformational theory, one can examine the voice-leading that

occurs between transformations of the mystic chord; however, this is not the final piece

of the puzzle in understanding the role of the mystic chord. Because Scriabin treats set

class 6-34 as a chord, one must consider the role that inversion plays. Is Scriabin

utilizeing techniques similar to tonal music to dictate bass motion or is he abandoning

past rules to establish his own? Through analysis of Prometheus and its piano miniature,

Feuillet d’album, op. 58 one can arrive at the conclusion that in fact both tonal-like

techniques and Scriabin’s own techniques are utilized in this symphony. Chapter III will

highlight these techniques by showing how the bass motion is similar and unsimilar to

typical tonal bass motion.

Chromatic Extensions

Relationships between mystic chords and the bass motions that accompany them

are not the end of the harmonic content of this symphony. Even with the mass orchestra

and a unique mystic hexachord, a composition built on the transposition of only six tones

would become very tedious; therefore, other “nonharmonic” tones must be included to

bring variety to the composition. Scriabin accomplishes this task in two ways; by adding

the traditional nonharmonic tones (i.e. passing tones, neighbor tones, etc.) and by

chromatically extending the mystic chord in a specific method. Chapter IV will describe

this method for chromatic extensions of the mystic chord.

Synesthesia as a Compositional Device

For the past one hundred years, researchers have been intrigued by the condition

of synaesthesia, especially colored-hearing type synaesthesia. Many of these studies

7

focus on how music is a large part of the colored-hearing phenomena; however, minimal

research has been conducted on how synaesthesia can affect the musical compositional

process. The question, “Can synaesthesia be used as a compositional device?” can be

answered by reviewing historical data and musical scores. Before beginning to

understand synaesthesia as a compositional device, an understanding of the phenomenon

of synaesthesia must be present.

The phenomenon of synaesthesia is defined as “stimulation in one sensory or

cognitive stream lead[ing] to associated experiences in a second, unstimulated stream.”18

This means that when an individual with colored-hearing type synaesthesia hears a

stimulus, his/her brain produces not only an understanding of the sound stimulus but also

produces a vivid color in their mind’s eye. These sensory streams create an “involuntary

concrete sensory experience than can be quite vivid.”19

The associations formed between

the two sensory streams are “regular, systematic, and consistent from one person to

another;” thereby, signaling that the cognitive properties and/or pathways must be

universal, even if the individual nuances are different (ex. one person sees the pitch ‘a’ as

blue and another person sees the pitch ‘a’ as red).20

These dual sensory streams can form

many different types of synaesthesia (ex. Tasting color, smelling color, spoken word that

produces tastes, etc.). Nevertheless, for the purpose of this study I will focus on colored-

sound type synaesthesia.

18

Edward M. Hubbard, "Neurophysiology of Synesthesia." Current Psychiatry Reports 9 (2007): 193.

19

Peter G. Grossenbacher, and Christopher T Lovelace. "Mechanisms of Synesthesia: Cognitive and

Physiological Constraints." Trends in Cognitive Sciences 5, no. 1 (2001): 36.

20

Lawrence E. Marks, "On Colored-Hearing Synesthesia: Cross-Modal Translations of Sensory

Dimensions." Psychological Bulletin 82, no. 3 (1975): 303.

8

Many studies show that colored-sound type synaesthesia is a complex

phenomenon and each individual person with synaesthesia develops a specific nuanced

form of the condition. Colored-hearing type synaesthesia is more than a sound stimulus

that triggers a color in the mind’s eye. For example, Galeyev observed that some people

with synaesthesia associate pitch with size (low pitches appear bigger than high pitches),

pitch with gradations of light (low pitches appear darker than high pitches), melodic

patterns with color or shape (a specific melodic pattern has a color or a specific shape

associated with the pattern) and timbre with color (trumpets sound red and harps sound

blue), just to name a few.21

Galeyev also points out that many of these ideas are common

among all people, not just people with synaesthesia, which in turn makes music a natural

medium for synaesthesia.22

In a 2003 study, Galeyev makes a universal connection

between gravity and music.23

The study suggests that all synaesthesia-based associations

are connected to a larger concept of physical space in music.24

On a more earthly scale,

Grigoryan tests a hypothesis, which looks at music as a natural medium for synaesthesia,

by which major keys had warm color associations and minor keys had cold color

associations (whether an individual had synaesthesia or not) and determines that most

subjects associated a warm color with major keys and cold colors with minor keys.25

Because music is highly complex and mode is only one part of the total composition,

21

Bulat M. Galeyev, "The Nature and Functions of Synesthesia in Music." Leonardo 40, no. 3 (2007): 285-

288.

22

Ibid.

23

Bulat M. Galeyev, "Evolution of Gravitational Synesthesia in Music: To Color and Light!" Leonardo 36,

no. 2 (2003): 129-134.

24

Ibid.

25

Levon A. Grigoryan, "Color-Thermal Associations in Music." Leonardo 28, no. 1 (1995): 57-58.

9

researchers have attempted to study which part of the composition gives rise to the color

association with mode. Cuddy suggests that the melody plays a large part in mode

identifying for people with synaesthesia.26

Yet some researchers still believe the

common synaesthesia for music is more general than mode or melody. Marks conducted

a study to determine if light brightness had an effect on people’s correlations with

loudness or frequency.27

The study suggests that people have strong correlations between

light brightness and frequency (ex. as the light brightness increased so did frequency).28

Discovering that synaesthesia was strongly tied to music, other researchers analyze how

synaesthesia effects the arts.

The visual and sound arts have long been studied for their synesthetic relationship

to one another. In the 6th

century BCE, Pythagoras searched to assign a specific color to

each musical pitch.29

Recently several painters and composers have explored the

intersection between color and sound. Many of Vassily Kandinsky’s paintings were

created in order to represent both a pictorial and musical idea.30

He discussed this

possibility at length with his friend Arnold Schoenberg. More importantly for this

research is the connection between composers and synaesthesia. Most research into

composers with synaesthesia focuses on Alexander Scriabin and Olivier Messiaen.

Scriabin and Messiaen have historical data and musical score information that can be

26

Lola L. Cuddy, "The Color of Melody." Music Perception 2, no. 3 (1985): 345-360.

27

Lawrence E. Marks, "On Associations of Light and Sound: The Mediation of Brightness, Pitch, and

Loudness." The American Journal of Psychology 87, no. 1/2 (1974): 173-188.

28

Ibid.

29

Amy Ione, and Christopher Tyler, "Neuroscience, History and the Arts Synesthesia: Is F-Sharp Colored

Violet?" Journal of the History of the Neurosciences 13, no. 1 (2004): 58-65.

30

Ibid.

10

used to trace each composer’s use and condition of synaesthesia. Messiaen, through

historical data and his own writing, stated that he had colored sound synaesthesia.31

Messiaen stated that he saw colors “inwardly, this is not imagination, nor is it a physical

phenomenon. It’s an inward reality.”32

Messiaen’s synaesthesia was so profound that he

was reduced to nausea at a ballet because the stage was lit with the wrong color for the

music.33

In Messiaen’s musical scores, he often placed markings that indicated the color

he intended to see through the sound.34

Messiaen and Scriabin represent the greatest

source of information for determining if synaesthesia can be used as a compositional

device.

Olivier Messiaen painstakingly placed color indicators in his musical scores and

these markings determine consistent synaesthetic associations. His synaesthetic

associations are not necessarily the same as Scriabin’s. Messiaen’s score indications are

usually found over chords and Messiaen stated that he would juxtapose certain chords in

order to create complex colors.35

Bernard conducted an analysis of all of the color

markings found in Messiaen’s scores and developed a table in order to track the

consistency in which Messiaen labeled the chords.36

Bernard discovered that Messiaen’s

31

Greta Berman, "Synesthesia and the Arts." Leonardo 32, no. 1 (1999): 15-22.

32

Ibid., 18.

33

Ibid.

34

John Harrison and Simon Baron-Cohen, "Synaesthesia: An Account of Coloured Hearing." Leonardo 27,

no. 4 (1994): 343-346.

35

Paul Griffiths, "Catalogue de Couleurs: Notes on Messiaen's Tone Colours on His 70th Birthday." The

Musical Times 119, no. 1630 (1978): 1035-1037.

36

Jonathan W. Bernard, "Messiaen's Synaesthesia: The Correspondence between Color and Sound

Structure in His Music." Music Perception 4, no. 1 (1986): 41-68.

11

color labeling existed in a hierarchy of criteria that follows “modal quality, specifically

mode-transpositional quality, which always takes precedence in any context.”37

Bernard

also determined that chord spacing or superimposed chords create different color

associations.38

Scriabin’s synaesthetic condition is more highly studied, mostly due to his

composition Prometheus: Poem of Fire. Historical data states that Scriabin himself

identified as someone with synaesthesia.39

However, as recent studies have suggested,

Scriabin’s color and mystic chord matching in Prometheus is not based on his own

synesthetic experience, but was derived for the purposes of this composition.40

Nevertheless, Scriabin was still using color and sound matching as a compositional

device that would open up the possibility for a synesthetic experience to be encountered

by all audience members. Scriabin’s symphony was so influential in Russia that a group

of artists, musicians and engineers was founded in 1962 entitled ‘Prometei’.41

This group

worked to develop the integration of light with sound in performance. The group was

responsible for the first true performance of Prometheus (true in the sense of how

37

Ibid., 67.

38

Ibid.

39

Kenneth Peacock, "Synesthetic Perception: Alexander Scriabin's Color Hearing." Music Perception 2,

no. 4 (1985): 483-505.

40

Anna Gawboy, "Alexander Scriabin's Theurgy in Blue: Esotericism and the Analysis of Prometheus:

Poem of Fire op. 60." PhD diss., Yale University, 2010. B.M. Galeyev, and I.L. Vanechkina. "Was

Scriabin a Synesthete?" Leonardo 34, no. 4 (2001): 357-361.

41

B M. Galeyev, "Music-Kinetic Art Medium: On the Work of the Group 'Prometei' (SKB), Kazan,

U.S.S.R." Leonardo 9, no. 3 (1976): 177-182.

12

Scriabin envisioned) in 1975.42

How Scriabin used synesthesia as a compositional device

will be explored in Chapter V.

The current literature on the aspects of transformations of the mystic chord, bass

motion, chromatic extensions and synaesthesia as a compositional device brush the

surface of this symphony, but no detailed information on any one of these topics has been

completed. My thesis will provide detailed information on these topics.

42

Bulat M. Galeyev, "The Fire of ‘Prometheus’: Music-Kinetic Art Experiments in the USSR." Leonardo

21, no. 4 (1988): 383-396.

13

CHAPTER II

VOICE LEADING PATTERNS OF THE MYSTIC CHORD

In this chapter, I will review the voice leading transformations outlined by Clifton

Callender’s article, describe a new transformation (invented by me) needed to describe

the voice leading in Prometheus, and show diagrams tracing mystic chord root

movement.43

Callender outlines two transformations that describe voice-leading

parsimony in the music of Scriabin. He first states two rules: (1) that conjunct voice

leading is limited to a half step and (2) that each voice may only move once within a

sequence.44

Rule one asserts that the set {014} cannot move to {016} because more than

a half step has been traversed. Secondly, rule two maintains that the sequence {014} to

{015} to {016} is invalid because only one voice moves in the sequence; therefore,

breaking rule one.45

These rules limit the “number of moving voices to one less than the

number of sets in the sequence.”46

The first transformation Callender describes is the “P-

relations.” P-related sets occur when one voice moves by a half step and all other voices

remain the same (i.e. {01234} P {01235}). P relations can be combined, forming

sequences of movements; for example the set {1,3,6,7,9,11} can move to {1,3,5,7,9,11}

and then again to {1,3,5,8,9,11} forming two P relations. Callender suggests that P-

relations should be noted as Px where the superscript ‘x’ numerates the number of P-

43

Clifton Callender, "Voice-Leading Parsimony in the Music of Alexander Scriabin."

44

Ibid.

45

Ibid.

46

Ibid., pg. 222

14

relations in the sequence (i.e. P2 is a sequence that contains two P transformations).

47

Figure 1 shows a P2

transformation between two mystic chord sets.

Figure 1: P relations

The second transformation Callender outlines, allows for expansion and

contraction in the number of pitch classes between two sets. Callender suggests that a

single pitch can be split into two pitches, each a half step away from the starting pitch

(i.e. 0 can be split into 11 and 1). This transformation also works in reverse where two

pitches, a whole step apart, can fuse into the pitch contained within that whole step (i.e.

11 and 1 can fuse to form 0).48

Figure 2 shows “split” and “fuse” between two sets.

Callender suggests that split and fuse transformations can be noted as S(x) where ‘x’ is the

pitch that either begins the split or ends the fuse (i.e. 0 can S(0) to 1 and 11 also 1 and 11

can S(0) to 0).49

The ability for this transformation to expand or contract sets is not

needed for showing voice-leading parsimony between sets of the same size; however,

Scriabin does use the split feature in the voice leading between mystic chords.

47

Ibid.

48

Ibid.

49

Ibid.

15

Figure 2: Split and Fuse Transformations

In his article, Callender’s transformations are shown to describe piano music;

therefore, a few features of his system need to be expanded before viewing examples of

his transformations in the orchestral setting of Prometheus. Register plays the most

important role in deciding voice leading avenues; therefore, an A4 in the piano part can

transform to an A#4 in the flute part. This allows for instruments to come and go from

the texture as the composer sees fit without disrupting the transformations. Secondly,

octave transfer must be allowed, especially for pitches held in common; therefore, an F4

in the Clarinet can be held in common with an F5 in the Flute part. With these guidelines

in place, Example 1, Example 2 and Example 3 show Callender’s transformations in

Prometheus.

Example 1:

P2 transformation

with an octave

transfer

16

Example 2: P2 and S(B#) Transformation

17

Example 3: Standard

P2 Transformation

.

P2

and S(x) transformations can be used to describe most voice leadings between

mystic chords with four and two notes in common. However, when two transpositions of

the mystic chord share only one note in common, a sequence of P and S transformations

cannot lead from one mystic chord to the other. One other transformation is needed. For

example the mystic chord built on A (A, D#, G, C#, F#, B) and the mystic chord built on

B (B, E, A, D, G, C) share only G in common. A P4 transformation will move the

mystic chord on A to this combination (B, E, G, D, C, F#); however, this does not lead

to the B mystic chord because the set is missing A. Moreover, by the rules established

18

by Callender, F# cannot move to A.50

Therefore another transformation is needed to

complete the sequence. Using the voice-leading patterns in Prometheus as a guide, I

propose the Common Tone Half Step transformation noted as C(x). This move allows a

voice to shift a half-step from a note which is held in common. This transformation

would allow for, in the above example, G to shift to A while still maintaining G as a

common tone. However, the C transformation leaves one note in limbo (i.e. the F# in our

example). Figure 3 demonstrates the C transformation from the above example.

Scriabin, in Prometheus, either eliminates the potential for a limbo pitch (Example 4), he

moves the limbo pitch to a pitch held in common (Example 5) or removes the limbo pitch

without any movement (Example 6). In the C transformation, the subscript ‘x’ represents

the new pitch created from this move (i.e. if A was created via a common tone half-step

move from G then C(A) would represent this move). For a full list of every P, S and C

transformation used in this composition please see Appendix A. Throughout this entire

symphony these transformations apply to almost every mystic chord change. There are

only a few instances the voice leading cannot be dictated by these transformations. Most

often it is the bass voice that is resistant to conforming to one of these transformations.

Just as in tonal music, the bass voice is given more voice leading freedom than the inner

voices. The bass motion will be discussed more in the next chapter.

50

Although other transformational theories allow for movement larger than a half-step, I felt it best to

adhere to Callender’s rules, and the voice leading in Prometheus can be explained without using a larger

interval of motion.

19

Figure 3: Common Tone Half Step Transformation

Example 4: C transformation that eliminates the potential for a limbo pitch

20

Example 5: C transformation that moves the limbo pitch to a pitch held in common

21

Example 6: C transformation that removes the limbo pitch

22

Network Diagrams

With these transformations acting to control the voice leading in this composition,

diagrams are built to show relative relationships between mystic chords. Different

sections of this composition tend to retain one mystic chord as the central home chord.

For example, in measures 1-86 the F# mystic chord is used as the central home chord;

this section’s transformations move away from and return to this mystic chord. Because

of this construction, the diagrams showing the relative relationship between mystic

chords contain the central chord in the center with the other 11 transpositions encircling

the home chord. Each ring around the home chord shows varying degrees of similarity

based on the number of common tones present in relation to the home chord. The first

ring shares four notes in common, the second ring shares two notes in common and the

third ring shares only one note in common. In Figure 4, a diagram built on F# is shown.

Figure 4: Network Diagram

23

With a diagram constructed, mystic chord roots are plotted to show their relative

relationship to the home chord. Table 1 shows all of the home chords for this

composition.

Table 1: Home chords51

Home

MC

Measure

Numbers

Home

MC

Measure

Numbers

F# 1-86 B 328d-336

F 87-148 E 337-344

C 149-201 E 345-354

A 202-211 F 355-370

F 212-219 D 371-408

F# 220-228 E 409-415

F 229-240 C# 415b-450

B 241-260 E 451-458

sequence 261-300 C# 549-589

D 301-308 A 590-601

A 309-328c F# 602-606

Each diagram for every home chord is represented in Appendix B. After plotting

all mystic chords on these diagrams, two main shapes emerged. The most pervasive

shape is the movement from the home chord to its tritone transposition. Out of the

nineteen diagrams constructed, thirteen show a move from home chord to its tritone

transposition. More often than not, this move is followed by a return to the home chord,

creating a tritone oscillation (F# to C to F# to C to F#, etc.). For example, measures 41-

48 and measures 69-81 both show oscillations between F# and C and this mystic chord

transformation reoccurs several times throughout this symphony. Perhaps this

transformation is not a surprise because of the nature of the mystic chord. The

construction of the chord contains two tritone intervals with the first interval from the

bass being a tritone. This oscillation between tritone transpositions highlights the

51

The home chords where chosen based on frequency of occurrence, duration, and melodic content.

24

inherent nature of the mystic chord. The tritone transformation is similar to the I to V

progression found in tonal music; in that, a major chord, which is the foundation of tonal

music, is constructed within a perfect fifth. Therefore, the progression from I to V

highlights the inherent nature of the major triad by showing the intervals present within

the chord.

The second shape that reoccurs in these diagrams is the diminished triangle. The

triangle forms a diminished triad, typically around the tritone transformation and the

minor third transformation as is shown in Figure 5 with the bold arrows.

These diminished triangles also appear doubled as is shown in Figure 6 with the bold

arrows.52

Considering the construction of the mystic chord, the prevalence of diminished

triangles is a bit surprising. Within the six notes of the mystic chord, four triads can be

built; two minor triads, one diminished triad, and one major triad. With this construction,

a minor triad triangle would seem to appear more often than the diminished triad.

However, the diminished triad is merely operating as an extension of the tritone

oscillation which is pervasive throughout this symphony. All of the diminished triangles

are formed from the tritone oscillation, giving credence to the idea that the triangles are

extensions of the tritone oscillation.

52

In these figures, the numbers refer to the chord numbers related to the table in Appendix A.

25

Figure 5: Network diagram showing diminished triangle

Figure 6: Network diagram showing two diminished triangles

After identifying the diminished triangles as important shapes within these

diagrams, I noticed that triangles in general were an important shape. In Appendix B, all

triangles are marked with bold arrows. Many of these triangles have no triad

significance; however, the triangle in the D# (#13) diagram shows a triangle that outlines

a diminished triad. This triangle is not a diminished triangle because it does not occur as

26

an extension of the tritone oscillation, but the tritone occurs along a different axis. Both

Baker and Gawboy discuss the importance of the polarization of the tritone (or as I term

it, the tritone oscillation) and this polarization is the most reoccurring shape.53

Yet these

diagrams also show that the polarization of the tritone is not the complete picture,

wherein the tritone is extended to include transpositions around a diminished triad.

P-relations, Spilt/Fuse and Common Tone Half-Step transformations dictate most

of the voice leading for this composition and through this voice leading the importance of

the tritone and the diminished triad are revealed. However, as mentioned above, Scriabin

has given the bass voice more freedom in its voice leading. This freedom need to be

explored in order to understand the entire harmonic landscape of Prometheus.

53

Gawboy, Anna. "Alexander Scriabin's Theurgy in Blue: Esotericism and the Analysis of Prometheus:

Poem of Fire op. 60."

27

CHAPTER III

BASS MOTION

What is the role of a mystic chord inversion in the construction of the symphony?

In James Baker’s book on Scriabin’s music,54

he notes that the mystic chord does not

always occur in root position. Baker argues that the lowest sounding pitches create a bass

progression that represents traditional sonata form or at least bass progressions similar to

tonality. After making this claim, Baker states that such a sonata-based reading of the

composition lies on shaky ground, because other harmonic elements (i.e. leading tones,

pre-dominant functions, and tertian harmony) are missing due to Scriabin’s use of the

mystic chord.55

Baker begins his bass motion discussion with micro-level tonal bass

progressions such as circle of fifths progressions, which can be found in mm. 277-285.

Baker also identifies bass progressions that simulate cadence structures such as II-V-I (a

progression which is important in Scriabin’s tonal music), which occur frequently in mm.

130-183. Baker then constructs a Schenkerian sketch of the bass line, which when

reduced, shows bass movement that resembles I-IV-V-I. However, as Baker points out,

“it is impossible to cite harmonic evidence for any particular analytical choice, for

harmonic components are nontriadic.”56

Although the Schenkerian sketch shows

associations between tonal bass progression and the bass progression present in

Prometheus, the sketches are not convincing. Bass pitch implication of tonal harmony is

not sufficient evidence for a reductive analytical technique, which attempts to show

54

James M. Baker The Music of Alexander Scriabin.

55

Ibid.

56

Ibid., 263.

28

prolongation of a single sonority over large spans of musical time. Perhaps what is most

convincing in Baker’s sketch is Scriabin’s use of F# and C# as pedal points. These two

pedal points certainly give the illusion of tonic and dominant, but are aurally lost on the

listener because of the atonal harmonic language. Reducing the bass motion to fit the

sonata form still does not answer the question of inversion because often the bass pitch in

question is not a part of the mystic chord. If a sonata-form bass line is not the answer,

perhaps the answer to the question of inversions (or lack of inversion) lies in the

relationship between the lowest and the second lowest pitches. My approach negates

prolongation ideas and focuses on micro-level chord construction as a governing factor of

bass motion. On this micro-level, we can notice that Scriabin attempts to avoid placing

the root of the mystic chord in the bass (due to factors explained below) and Scriabin

attempts to avoid creating harmonic tritones between the two lowest sounding voices.

The piano miniature or experiential piece, Feuillet d’album op. 58, was written in

1910 in an attempt to puzzle out the workings of the mystic chord as a harmonic and

melodic element. This piece bears a striking resemblance to Prometheus in the way the

mystic chord is used to create harmony and in the way the bass voice is used. This

composition is a short ABA form. The first A section (mm. 1-10) utilizes mostly mystic

chord material, the B section (mm. 11-14) explores a combination of mystic chord

material and alternate bass material and the second A section (15-end) continues the

combination of mystic chord material with alternate bass material. In the first A section,

the bass line merely arpeggiates chord tones of the mystic chord; however, in m. 11 a

pitch outside of the mystic chord appears, Example 7 shows m. 11. In this bass motion,

Scriabin includes tonic-dominant bass like motion between pitches F and C. If the F is to

29

be a part of the mystic chord it would need to be F#; however, that would create a tritone

in the bass (between F# and C). In op. 58, Scriabin seems to follow tonal rules in regards

to bass motion (i.e. no tritones in the bass). If we consider the bass line in mm. 10-13

(Example 8) we can see an alternation between C and F, which looks like a remnant of

tonic-dominant relationships present in tonal music.

Example 7: Op. 58 I to V bass relationship

Example 8: Op. 58 movement between C and F

In Prometheus, the same types of bass motions are present. Although in some

sections of the composition Scriabin places tritones in the bass, typically this harmonic

interval is composed of other intervals typical of tonality (P4, P5, and sixths). The bass

tone alterations frequently occur as chromatic extensions, which will be discussed in the

next chapter. Usually the bass tone is altered only by a half step and is only altered in the

30

bass. Example 9 shows mm. 99-100 where the bass voice is altered to A, but as the bass

motion arpeggiates upward the A is changed to A, which is a chord member of the

current mystic chord. Example 10 shows mm. 163-164, where the same type of

alteration occurs.

Example 9: Altered bass where higher pitches remain unaltered

31

Example 10: altered bass where higher pitches remain unaltered

By far the most common bass alteration is to create perfect fourths or fifths in the

bass. In measures 157-158 (Example11), the E# is altered to E to create a perfect fifth

between E and B. The same alteration occurs in m.272 (Example 13), only this time a

perfect fourth is created between B and E. Not only does Scriabin change the lowest

32

pitch to create prefect intervals he also changes the second to lowest pitch to create

prefect intervals. Example 12 shows mm. 183 where E is altered to F to create a perfect

fifth between B and F.

Example 11: Altered bass to create perfect fifth

33

Example 13: Altered bass to create

perfect fourth

Example 12: Altered second lowest bass

pitch

34

Because Scriabin does not always seek to eliminate tritones in the bass then the

purpose of altering any of the bass pitches is for aural ambiguity. Scriabin understood

that the very nature of the mystic chord created aural ambiguity, even more so if the

chord was in inversion. Scriabin was quite happy when his friend Sabaneev could not

guess the mystic chord’s pitch content when Scriabin played the chord in inversion on the

piano.57

If the chord is played in root position as stacked fourths the pitch content of the

mystic chord is quite clear and because of this effect the mystic chord is rarely played in

root position in Prometheus. We can understand through this account about his friend

Sabaneev that Scriabin’s main goal was to obscure the pitch content of the mystic chord.

The pitch content can be even more obscure if the bass pitch is altered to a pitch not

included in the current mystic chord. Perfect fifths and fourths in the bass protrude from

the texture because of their strong tonal connotations, which lead to a more obscure pitch

content.

Overall, my analysis concludes that Scriabin is not thinking in terms of specific

inversions, as a composer would in tonal compositions, but is more concerned with how

the bass motion can obscure the pitch content of the mystic chord and can add tonal

elements in this atonal setting. Beyond localized triad outlining and chromatic motions,

no significant bass motion pattern emerges. Even these localized events are short lived

and contain no transitional material. One triad may be outlined then Scriabin moves the

bass to outline another triad without connecting material the only bass pattern that

emerges for any significant amount of time are pedal points. For example F# is a pedal

57

Gawboy, Anna. "Alexander Scriabin's Theurgy in Blue: Esotericism and the Analysis of Prometheus:

Poem of Fire op. 60."

35

point for mm. 47-66, during this time F# is often a dissonant tone. E is used in the same

way for mm. 157-178. These pedal points might give the listener a sense of tonal

centricity in these short sections; however, when listening to the composition these pedal

points tend to obscure the harmonic motion that occurs above them; thereby, achieving

Scriabin’s goal of pitch content obscurity.

36

CHAPTER IV

MYSTIC CHORD CHROMATIC EXTENSIONS

The tastiera per luce (light organ part) is divided into two voices, a fast voice and

a slow voice. The fast voice outlines the harmonic motion of the composition by

supplying the root of the mystic chord. The slow voice’s function, as it relates to the

music, is difficult to discern. Most authors recognize that the slow voice forms a whole

tone scale. The formation of a whole tone scale by the slow luce voice does not form a

significant enough function for Scriabin to include this voice in the creation of the

composition. Some authors have stated that the slower luce voice represents the narrative

form of the composition. Anna Gawboy’s dissertation compiles accounts (from Scriabin

as relayed by his friend Sabneev and Sabneev’s personal interruption) and her own

interruption of the function of the lower luce voice. Gawboy describes that Scriabin’s

attempt was to create a musical line that represented the Root Races outlined by Helena

Blavatksy.58

Gawboy shows striking and compelling evidence that Scriabin intended the

slow luce voice to be a representation of this important Theosophical thought. However,

this representation is not the only function of the slow luce voice. Although the fast luce

voice supplies most of the outline for the harmonic motion of the symphony, the slow

voice contributes to this function as well. Even in a cursory examination of the score

would reveal moments in which the fast voice is absent from the luce texture. The slow

voice, in these moments, assumes the fast voice’s responsibility of outlining the harmonic

construction. For example, in m. 22 (see Example 14) the fast luce voice is tacet while

58

Anna Gawboy. "Alexander Scriabin's Theurgy in Blue: Esotericism and the Analysis of Prometheus:

Poem of Fire op. 60." Pg. 211-219. Blavatksy was the primary source for Scriabin’s Theosophical belief

system.

37

the slow voice “sounds” an F#. The mystic chord sounding in m. 22 is built on F#. The

slow voice extends beyond simply taking over the fast voice’s responsibility

occasionally, into the realm of supplying additional harmonic material.

Example 14: Slow luce voice takes over the fast luce voice’s role

The harmonic material of Prometheus extends beyond the six tones of the mystic

chord. For comparison, tonal music extends beyond the confines of sounding triads by

introducing nonharmonic tones and extended harmonies. Similar ideas apply to the

harmonic material of Prometheus. The identification of nonharmonic tones in atonal

music has been debated in music theory literature for many years. The debate is mainly

centered on the identification of stable sonorities, because to describe nonharmonic tones

one must be able to identify the stable sonorities between which the nonharmonic tones

38

move. The problem of stable sonorities is solved in Prometheus since Scriabin defined

the stable sonority contextually as the mystic chord. In “Schoenberg on Ornamentation

and Structural Levels,” Jack Boss describes how nonharmonic tones in atonal music can

function similarly to their tonal counterparts. One of his three criteria involves defining

non-tonal elements as structural contextually, while another criterion involves atonal

ornaments that resemble tonal ones.59

Scriabin adheres fairly strictly to the tonal

nonharmonic tone rules (i.e. a passing tone is approached by a step and left by a step in

the same direction, etc.). For example, in mm. 23-24 (see Example 15), the violoncello

moves from A (consonant) to A (dissonant) to G (consonant). Making the A a passing

tone. Examples of neighbor tones, appoggiaturas and escape tones can be found

throughout Prometheus.

Example 15: Nonharmonic tone

59

Jack Boss. "Schoenberg on Ornamentation and Structural Levels." Journal of Music Theory 38, no. 2

(1994): 187-216.

39

Extending the mystic chord harmonies (similar to extending triads by adding 7th

,

9th

, etc.) is often the role of the slow luce voice. Scriabin uses the slow voice as a source

of potential harmonic material. Measures 33-40 are a perfect example of this material.

Example 16 the sounding mystic chord, as notated by the fast luce voice, is E. All six

members of the E mystic chord are present; however, E/F, G and B are also present.

A few of these pitches could be explained as nonharmonic tones; however, many of these

pitches are not prepared or resolved in the conventional manner. But, all of these pitches

can be explained by utilizing the potential present in the slow luce voice. This voice is

“sounding” an F# and E/F, G and B are all a part of the F# mystic chord. Another

example of harmonic extension occurs in mm. 174-177a (see Example 17) wherein, the

fast voice outlines a B mystic chord, but E, C and D are also present. E, C and D are

contained within the B mystic chord, which the slow voice is outlining. Scriabin has

melded the function of the fast voice with the slow voice giving clarity to the harmonic

material. In that the total harmonic content can be deduced by the mystic chord roots

present in both of the luce voices, the fast voice providing the root for the primary mystic

chord and the slow voice providing chromatic extensions. The results are a land of

mystic chord bitonality.

40

Example 16: Chromatic extensions

41

Example 17: Chromatic extensions #2

42

This method of exercising the potential of the slow voice to add harmonic color is

often used to create aggregates between two different mystic chords. In Example 18,

mm. 199-200 creates an aggregate between the mystic chords C and F#, even though F#

is not present in the luce part. In a similar moment (mm. 209-210, see

Example 19), the two luce voices are present and an incomplete aggregate is

formed between the MCs C and A (missing A). This aggregate notion is very clear in

measures 305-308 in Example 20. Here, the luce part is divided into three voices

creating mystic chords built on D, F and A. The harmonic content of the music contains

all the pitch members of these three mystic chords.

Example 18: C and F# aggregate

Example 19: C and A aggregate

43

Example 20: D, F, and A aggregate

Most often the slow Luce voice’s potential is exercised in the bass voice. As

described in Chapter III, Scriabin often adjusts the bass voice’s pitch content to create

bass motions similar to tonality and to maintain tonal-like intervals between the two

lowest sounding voices in order to obscure the pitch content of the mystic chord. Most

often this bass pitch change utilizes the potential present in the slow luce voice. In

Example 22, m. 51 F# is the bass pitch, which is not present in the C# MC being

presented; however, it is the root of the slow luce voice MC. One could argue that this

F# is merely a pedal tone because it is prepared and resolved with the same pitch;

however, the frequency in which Scriabin uses this same construct begs a better answer

than a pedal tone. Measures 268, 270, and 272-273 are examples of this same bass note

44

construct, where Scriabin utilizes the potential of the slow luce part to create bass motion

similar to tonality. In m. 268 (see Example 21) Scriabin adds A (a note present in the C

MC) to create a typical I to V motion in the bass. Measures 270 (see Example 24) and

272-273 (see Example 23) create this same motion in different key areas.

Example 22: Chromatic extension in bass F#

Example 21: Chromatic

extension to create I to V

relationship in the bass

45

Example 24: Chromatic extension to

create I and V relationship in the bass #3

Example 23: Chromatic

extension to creat I and V

relationship in the bass #2

46

CHAPTER V

SYNESTHESIA AS A COMPOSITIONAL DEVICE

If we hope to gain a clear image of how the mystic chord functions throughout the

composition, we must consider the aspect of light. As many writers have pointed out,

there is a direct link between the mystic chord and the light organ part.60

Because this

direct link exists between light and the transformations of the mystic chord, we must

consider the role the light schema plays in the choice of the transpositions of the mystic

chord. In addition, this symphony is a tone poem; therefore, the light schema plays a role

in the symbolist meaning of the symphony. If we consider the dual-modality of

synesthesia, which is thrust upon the listener and performer, as a way to interpret the

light/sound relationship then we can ask the question, can synesthesia be used as a

compositional device?

Let us recall the function of the two light voices. The fast luce voice outlines the

root of the mystic chord being presented, which gives the listener a sense of the harmonic

rhythm and harmonic content.61

Without this connection the changes in the harmonic

content would be almost impossible to aurally perceive. The slow luce voice has the

potential to add to the harmonic content; however, its primary purpose is to bring clarity

to the form and to provide direction to the Symbolist drama. These two voices are so

linked to the music that one without the other makes the symphony unintelligible. With

60

Anna Gawboy, “Alexander Scriabin’s Theurgy in Blue: Esotericism and the Analysis of Prometheus:

Peom of Fire op. 60”, MacDonald, “Lighting the Fire: Skryabin and Colour”, Peacock, “Synesthetic

Perception: Alexander Scriabin’s Color Hearing”.

61

Anna Gawboy, “Alexander Scriabin’s Theurgy in Blue: Esotericism and the Analysis of Prometheus:

Peom of Fire op. 60”

47

this strong interrelationship Scriabin had to consider light and sound as one unit; thereby,

using a dual-modality situation (synesthesia) as a compositional device.

Gawboy’s research suggests that Scriabin pre-planned the slow luce voice to

“play” a whole-tone scale in order to represent the Symbolist meaning of the evolution of

humans through the Root Races. This process involves seven stages from the Spiritual to

the Material and a cyclic return to the Spiritual. A whole-tone scale is the perfect musical

embodiment of this idea because it contains seven steps beginning and ending on the

same pitch. Not only was the whole-tone scale pre-planned, but also the color

associations where planned according to the specific degrees of chromaticism present

between different transformations of the mystic chords and their relation to one another

via their placement on the physical color organ.62

In Gawboy’s dissertation, she provides

a detailed correlation between the luce voices and the Symbolist drama Scriabin wished

this symphony to embody; therefore, there is no need to cover this material within the

confines of this thesis.63

However, with this large body of research it is clear that

Scriabin pre-planned all of the connections between the luce voices, the dramatic content

and the musical material.

In the same way a composer may consider employing other compositional

devices, which must be pre-planned such as canon, motif development, ostinatos, etc. to

convey the narrative of the composition, Scriabin considered a dual-modal environment

as a compositional device. This type of device requires (as we have seen) a high degree

of specific and detailed planning. Clearly Scriabin is using a synesthetic environment as

62

Ibid.

63

Ibid.

48

a way to convey the Symbolist narrative of Prometheus. Without the connection between

color and sound the higher level organization and meanings are lost because both rely on

each other to form a complete unified art form. This, of course, was Scriabin’s ultimate

goal; to create a single unified art form which combined all sensory modalities.64

64

Scriabin hoped to achieve this in his Mysterium, but he died before he had a chance to achieve his goal.

Ibid.

49

CHAPTER VI

EXCERPT CASE STUDIES

This chapter explores how transformation theory, bass motion and chromatic

extensions relate to form an analytical narrative. The analytic narrative will be added to

the esoteric narrative described by Anna Gawboy to form a whole unit, which can be

used to describe how Scriabin uses synesthesia as a compositional device. I will explore

these ideas in two large excerpts; the first from mm. 1-86 and the second from mm. 183-

219.

The first excerpt (mm. 1-86) represents the first full duration of the slower luce

voice and encompasses the first network diagram built on F# (see appendix B). A

cursory glance at the network diagram shows a relatively small collection of mystic

chords. Besides the home mystic chord of F#, only six other transpositions of the mystic

chord are utilized; three that share four notes in common and three that share two notes in

common. Two types of transpositions are most common in this section; transposition via

descending third relationships or oscillation from F# to C. These transposition

relationships lead to a preponderance of P and S transformational relationships due to the

number of common tones (as seen in Appendix A). In these relationships, F# is almost

always one of the notes held in common (meaning, one can hear F# through most of this

section). The transformational relationships are aurally salient in the strings in mm. 67-

69 and the piano in mm. 58-60. The upper strings transform six chords, whose roots

outline a full-diminished seventh chord, and the upper strings accomplish this task by

mostly half-step motion or, in order terms, through consecutive P-relations. The piano

creates a smooth transition between E and C# mystic chords by outlining the E mystic

50

chord then transposing the figuration up a half step (or by P-relations) while keeping the

common tones in order to outline the C# mystic chord. This process is reversed and

repeated to create a short oscillation between E and C# mystic chords. Scriabin exercises

the potential of chromatic extension only to keep F# in the bass between mm. 47-66.

This allows for the most significant bass motion to lie between C (mm. 41-46) and F#

(mm. 47-66). Also this section contains one of the only root position mystic chords (in

m. 29 on F#) found in the entire symphony. With these elements in place let use relate

them to Gawboy’s esoteric reading.

This section introduces fundamental ideas important to the esoteric reading of the

entire symphony.65

The first chord, a mystic chord on A in an inversion, represents the

unity from which the rest of the piece develops. Sabaneev describes the first chord as

representing the chaos before the world was put into order/creation.66

Scriabin also

establishes F# as the acting tonic of the composition and A as a secondary tonic by

opening and closing the first thematic group with these two mystic chords.67

The most

important esoteric idea presented in this section is the relationship between F# and C as it

is linked to the relationship between Spirit (F#) and Material (C).68

The entire symphony

is designed to show the descent from spirit or formlessness into material or matter and the

unattainable cyclic return to spirit. The descent into matter is sparked by the Promethean

65

This whole paragraph is a summary of Gawboy’s “Color Stage I” presented in Chapter six of her

dissertation. Anna Gawboy, "Alexander Scriabin's Theurgy in Blue: Esotericism and the Analysis of

Prometheus: Poem of Fire op. 60."

66

Ibid., 242.

67

Ibid., 245.

68

Ibid., 245.

51

character endowing humans with Manas, which is the light of knowledge.69

This gift

“was both a blessing and a curse for humanity” because it can generate sorrow produced

by the interaction of passions and aspirations (i.e. “the internal tension of the human

soul”).70

Scriabin establishes that the piano represents the Promethean hero and sets in

opposition the solo piano against the orchestra to show the relationship between demi-

gods (piano) and gods (orchestra)71

. This section introduces the individual elements of

these two battles (spirit v. matter and demi-god v. god) and foreshadows the dramatic

action.

The role of colored light fuses the analytical and esoteric reading of this section.

Gawboy suggests that the colors are assigned to mystic chord transpositions via the circle

of fifths. Table 2 shows the mystic chord roots and their color associations that Gawboy

defines in her dissertation.72

Many of the color associations are lifted directly from

Blavatsky’s text. Scriabin follows Blavatsky’s assignment scheme by representing C as

the material, red and F# as the most spiritual, violet.73

Gawboy suggests that with those

two poles in place the rest of the colors were chosen based on Goethe’s color wheel.74

69

Ibid., 283.

70

Ibid., 283.

71

Ibid., 250, 283.

72

Ibid., 185.

73

Ibid., 197.

74

Ibid., 185-200.

52

Table 2: Mystic chord roots and color associations

Mystic Chord Root Color

C Plain Red

G Orange (red-yellow)

D Sunny Yellow

A Green

E Dark blue-greenish

B Dark blue with light blueness

F#/G Deep dark blue with hints of violet

C#/D Pure violet

G#/A Lily colored

D#/E Steely blue, metallic

B Metallic leaden grey

F Dark Red

F# and A as tonic and secondary tonic respectively, are reinforced by their color

associations; in that, when these two colors appear, Scriabin intends to recall the

beginning of the piece (either with or without the beginning melodic ideas).75

With the

limited number of transpositions of the mystic chord present in this section there is also a

limited number of colors represented. This section typically limits the color palette to

spiritiual type hues (blue, violet and green) expect when Scriabin wants to foreshadow

the battles between demi-god and god.76

In these moments, Scriabin sets up a stricking

color palette of dark blue-violet and red. Scriabin moves away from this limited color

palette in mm. 47-66 and developes colors of yellow and gold; however, F# remains as a

pedal tone serving as an aural indication of the slow luce voice.77

This color shift

coincides with a shift in melodic content; wherein, the piano plays a light joyful dance

figure, which is a contrast to the dark brooding melodic figures. This color shift is also

75

Ibid., 245.

76

Ibid.

77

Ibid.

53

represented on the F# network diagram. The spiritual hues are presented by the double

diminished triangle and the transformations that occur behind these triangles are the

transformations between E, D and C# mystic chords, which are represented by the normal

arrows. The network diagram clearly shows a pattern break in which the home chord F#

and its surrounding triangles are mostly avoided.

As each analytic layer is unfolded, the connection between the harmonic activity

of the composition and the light schema gains a strong sense of unity. In the example

above, the light joyful dance melody is accompanied by bright and joyful colors, which is

a product of the connection between the mystic chord roots and their associated colored

light. The associations between chord root and color are established before a single

melodic idea was written. This tiny example shows how Scriabin was using synesthesia

as a compositional device. Scriabin could have set the dance melody to accompany a

whole host of different colors by merely choosing different transpositions of the mystic

chord, but if Scriabin wanted to show a similarity between a bright and joyful light

schema and a bright and joyful melody, his harmonic options were limited by the

synesthetic associations given to each individual mystic chord. Therefore, the harmonic

progression of the mystic chord is dictated solely by a need to develop a synesthetic

world in which the light controls the “telling” of the Promethean story with the support of

a significant melodic element. This means that the harmonic progression is a

consequence of the prearranged associations between the light schema and the mystic

chord roots and not a consequence of particular bass motions or transpositions that mimic

tonal structures. For Prometheus, synesthesia is the controlling composition device,

which dictates and informs the other compositional elements.

54

The second excerpt is taken from mm. 183-219 and is under the slow Luce voice

notated as C. This section includes part of the third network diagram and all of the fourth

and fifth network diagrams. Each one of these diagrams shows a relatively small number

of mystic chords being used. The P-relation is highly used and creates very conjunct

voice leading between mystic chord transpositions. This is especially evident in the

piano part in mm. 191-200; wherein, the figuration remains the same but within each

figuration the pitches change only by half step. This is due to the high number of

common tones present between many of the mystic chord transformations. For example,

in mm 184-211 all of the individual transformations maintain four common tones. In

this excerpt, Scriabin uses the chromatic extension potential to foreshadow mystic chord

aggregates. For example, the piano, in mm. 197-198 (see Example 25) the first 16th

on

beat three of each measure (pitches, A#, D# and G# and encircled) are not a part of the C

mystic chord, but are a part of the F# mystic chord. This foreshadows the aggregate that

is present in mm. 199-200; see Example 18 in Chapter IV.

55

Example 25: Foreshadowing aggregates through chromatic extension

Gawboy defines this excerpt as the “materialization of the spirit;” in which, the

human spirit rails against the “creator-gods.”78

The piano’s violent sequence of melodies

depicts the human spirit’s battle to become truly material, an abandonment of the

spiritual, while the orchestra, in its creator-god fashion, attempts to subdue the raging

spirit. These smaller struggles present in mm. 183-219 will lead to a great battle (i.e. “the

first orchestral climax”) in mm. 297-301.79

Gawboy suggest that the mystic chord

78

Ibid., 282-283.

79

Ibid., 284-290.

56

aggregates represent “the internal conflict between spiritual and material aspects of

man.”80

In mm. 183-219, the overall color scheme is red. Red, the color of material (also

the color of blood) is reflected here in the battle for materiality. Even the internal

struggle of the aggregates is bathed by the slow luce’s C (red) showing, in my opinion, a

global disinterest in the internal struggles of man. Gawboy states that in Scriabin’s notes

on the Paris performance score, he indicates fire, lighting, and violent sparks and burst to

accompany these measures adding a greater depth and depiction of the ensuing battle.

This battle takes place under the color scheme of red; therefore, Scriabin, by his

own color and mystic chord associations, is limited in his harmonic choices. The melodic

motives are conceived inside mystic chords that are associated with red color palettes.

Here again is an example of how synesthesia was the overlord of all compositional

elements. Measures 187-190 contain the same melodic and harmonic ideas as mm. 5-8;

however, Scriabin needed to transpose these ideas in order to reach a mystic chord that is

associated with red. In another composition, a composer may have kept the same

transpositional level to show a clearer relationship between the beginning ideas and the

ideas present in these measures. However, Scriabin, by using a synesthetic environment,

cannot utilize the same transpositional level. He must transpose in order to create the

correct synesthetic environment for this moment in the esoteric narrative of the

composition.

80

Ibid., 284

57

CHAPTER VII

TRANSFORMATIONS AND BEYOND

Much of the work in this thesis resides in the appendixes that follow. I conducted

a detailed pitch by pitch analysis in an effort to show exactly how each voice leading

transformation was executed. The biggest obstacle to this type of analysis is the lack of a

quality critical edition score. I believe many errors are present in the small pitch details

of this score. I have read the frustrations of other researchers who lament over the same

pitch errors. Perhaps the next great research project into Scriabin’s Prometheus is to

produce and publish a detailed critical edition, which would greatly facilitate further

research into this symphony.

Transformational theory works well at describing a majority of the voice leading

patterns of this symphony. In the excerpt overviews, I showed how Scriabin creates

voice leading patterns that reflect not only close proximity (i.e. number of common

tones), but also how they create grouping (diminished triangles) and ultimately generate

color schemes that “tell” the esoteric story. The purpose of this study was to utilize the

current transformational models at the strict score surface level. Callender’s theory

provides two-thirds of the transformational processes presented here, but my addition of

the Common-Tone Half Step transformation allows for a complete understanding of the

voice leading pattern Scriabin uses in Prometheus. Of course, this analysis is enhanced if

you understand the Theosophical ideology in which this composition is steeped. Luckily,

the information about the influence of Theosophy has already been presented by Anna

Gawboy’s dissertation, which is remarkably thoughtful and detailed.

58

The melding of transformational theory, network diagrams, and detailed

Theosophy conceptualization leads to an understanding of how the luce voices function

in Prometheus. The luce sets forth the outline of the basic harmonic structure, shows

important esoteric sectional divides that help “tell” the story, and is the tool for how

synesthesia works as a compositional device in this composition. The light schemas of

this composition have been widely noted; however, the impact this has on the

compositional process is hardly noted. If we think about synesthesia as a compositional

device, in the same vein as a canon or an ostinato, then the impact of the synesthetic

environment on the harmonic progression, transpositional level and melodic content is

clear. In the excerpt case studies, I described how the creation of the synesthetic

environment controlled the harmonic progression, transpositional levels and even to some

degree the melodic content because of the connection between the mystic chord roots and

the color assignments. This strict one to one connection bears most of the weight of the

esoteric meaning of the composition because it must dictate the light and the harmonic

transformations; therefore, the creation of the synesthetic environment must be thought of

as a compositional device.

Although no one analysis seeks to understand all aspects of this composition, I

believe the next adventure in understanding this symphony is through application.

Perhaps composers can adopt some or all of the information contained within this

masterpiece to create a composition that seeks to envelop the audience in a synesthetic

world of sound and color. Through application of synesthesia as a compositional device

perhaps we will gain better understanding of this composition and heightened

59

understanding of how multi-sensory art can bring the human spirit to a heightened level

of understanding and thought.

60

APPENDIX A

P, S AND C TRANSFORMATIONS

Legend: A = notes not used NOTE: all pitches are in C

Ch

ord

#

Mea

sure

#

Inte

rval

Transformation MC Notes Comments

1 1-12 A, D#, G, C#, F#, B

2 13-14 TT P2 E, A, D, G, C, F Tbn. C# P Bsn. C

Fl. F# P 8vb Bsn. F

3 15 M6 P3, C(B) C, F#, B, E, A, D

Bsn. F P Cl. F#

D.B. E P D.B. E

Bsn. D P 8va Cl. D

Bsn./Vc A C Cl. B

G is deleted

4 16-18 M6 P1, S(D), C(G) A, D#, G, C#, F#, B

Cl. B P B. Cl. B

Cl. D S Ob. D# & Hn. C#

(Hn. D P Hn C#)

Cl. F# C B. Bl. G

C is deleted

5 19 M6 P1, S(B), C(F) F#, B#, E, A#, D#, G#

B. Cl. G P 8va E. Hn. A

B. Cl. B S Vc. A# & E.

Hn. C

Ob. D# C E. Hn. F

A is deleted

6 20 m3 P1, S(A), C(D) E, A, D, G, C, F Hn. A S Ob. A & Hn. G

E. Hn. C C Hn. D

E. Hn. F P 8va Fl. F

7 21 TT P2 A, D#, G, C#, F#, B Tpt. F P Tpt. F#

Fl/Ob. C P Tpt. B

8 22 M6 P3, C(E) F#, B#, E, A#, D#, G#

Hn. A P Hn. A#

Tpt. G P Tpt. A

Tpt. C# P Tpt. C

Hn. D# C Hn. E

9 23-26 m3 P1, S(C), C(G) A, D#, G, C#, F#, B

Hn A# P Hn. A

Tpt. C S Tpt B & Tpt. C#

Vc. F# C Vc. G

E Moves to D#

10 27 M6 P1, C(E) F#, B#, E, A#, D#, G# Hn. A P Hn. A#

Hn. D# C Hn. E

11 27b m3 P2 A, D#, G, C#, F#, B Fl. F# P Fl. G

Hn. A# P 8vb Vc./Bsn. A

C# has no transformation

61

Ch

ord

#

Mea

sure

#

Inte

rval

Transformation MC Notes Comments

12 28-32 M6 P1, C(E) F#, B#, E, A#, D#, G#

Fl. G P Fl. G#

Hn. D# C Hn. E

F#, B# & A# have no

transformations

13 33-40 m3 P3, C(D) E, A, D, G, C, F

Pno. E P Pno. F

Ob. G# P E. Hn. G

Pno. B# C Pno. D

F# is deleted

Pno. A# P Pno. A

14 41-44 M6 P2, C(A) C, F#, B, E, A, D Ob. F P E. Hn. F#

B. Cl. A C Bsn. B

Pno. D P Pno. D

15 45 TT P2 F#, B#, E, A#, D#, G# E. Hn. A P E. Hn. G#

Fl. D P Fl. D#

16 46 TT P2 C, F#, B, E, A, D E. Hn. G# P E. Hn. A

Fl. D# P Fl. D

17 47-48 TT P2 F#, B#, E, A#, D#, G# Vla. D P Pno. D#

Vln. A P Vln. G#

18 49-50 m6 P2 D, G#, C, F#, B, E Pno. D# P Pno. D

Vln. A# P Pno. B

19 50b M2 P2 E, A#, D, G#, C#, F# Pno. B P Pno A#

E. Hn. C P 8va Fl. C#

20 51 M6 P1, S(E), C(B) C#, Fx, B, E#, A#, D#

Pno. G# P Pno. Fx

Hn./Pno. E S Hn./Pno. E#

& Vln. D#

Hn. A# C Hn. B

21 51b m3 P1, S(E), C(D) E, A#, D, G#, C#, F#

Fl. C# C Fl. D

Pno. Fx P Pno. G#

Pno. E# & Vln. D# S Pno.

E

F# remains from previous

chord

22 52-54 M6 P2, S(E), C(B) C#, Fx, B, E#, A#, D#

Pno. G# P Pno. Fx

Pno. Cx P 8va Pno. C#

Pno. E S Pno. E# & Vln.

D#

Pno. A# C Pno. B

D is deleted

23 55-56 P4 P3 F#, B#, E, A#, D#, G#

Pno. Fx P Pno. G#

Cl. C P E. Hn. C

Pno. E# P Pno. E

F# remains from previous

chord

24 57-58 m6 P2 D, G#, C, F#, B, E Fl. A# P Fl. B

Pno. D# P Pno. D

62

Ch

ord

#

Mea

sure

#

Inte

rval

Transformation MC Notes Comments

25 58b M2 P2 E, A#, D, G#, C#, F# Pno. B P Pno A#

E. Hn. C P 8va Vln. C#

26 59 M6 P1, S(E), C(B) C#, Fx, B, E#, A#, D#

Pno. G# P Pno. Fx

Pno. E S Pno. E# & Vln.

D#

Hn. A# C Hn. B

D is deleted

27 59b m3 P2, S(E) E, A#, D, G#, C#, F#

Vln. C# P Vln. D

Pno. Fx P Pno. G#

Pno. E# & Vln. D# S Pno.

E

F# remains from previous

chord

28 60-63 M6 P2, S(Cx), C(B) C#, Fx, B, E#, A#, D#

Pno. G# P Pno. Fx

Pno. E P Pno. E#

Pno. Cx S Pno. D# & via

8va Pno. C#

Pno. A# C Pno. B

29 63b m3 E, A#, D, G#, C#, F# Transition

30 63c-66 M6 P2, C(C) C#, Fx, B, E#, A#, D#

E. Hn. F# P E. Hn. Fx

Cl. B C Cl. C

Fl. D P Pno. D#

C# & E# have no

transformations

31 67 m6 P1 A, D#, G, C#, F#, B Pno. A# P 16vb Vc. A

32 67b M6 P3 F#, B#, E, A#, D#, G#

Vln. D# P Vln. E

Vln. B P Vln. B#

Vc. A P Vla. G#

F# has no transformation

33 68 m3 P3 E, A, D, G, C, F

Vln. E P Vln. F

Vln. B# P Vln. D

Vla. A# P Vla. A

E has no transformation

34 68b M6 P3 C, F#, B, E, A, D Vln. F P Vln. F#

Vla. A P Vla. A#

Vc. E P 8va Vln. E

35 68c M6 P2, S(A#) A, D#, G, C#, F#, B

Vln. F# P Vln. G

Vln. E P Vln. E

Vla. A# S Vln. G & 8v

Vc. A

36 69-73 M6 P2, S(G), C(E) F#, B#, E, A#, D#, G#

Vln. G S Vln. G# & Vc.

F#

Vla. C# P Pno. B#

Vc. A P 8va Pno. A#

Vln. E C Pno. E

63

Ch

ord

#

Mea

sure

#

Inte

rval

Transformation MC Notes Comments

37 74 TT P2 C, F#, B, E, A, D Pno. G# P Pno. A

Pno. D# P Pno. D

38 74b-75 TT P2 F#, B#, E, A#, D#, G# Pno. A P Pno. G#

Pno. D P Pno. D#

39 76 TT P1 C, F#, B, E, A, D Pno. D# P Pno. D

40 76b-77 TT P1 F#, B#, E, A#, D#, G# Pno. D P Pno. D#

G# has no transformation

41 78-81 TT P2 C, F#, B, E, A, D Pno. G# P Pno. A

Pno. D# P Pno. D

42 81b M6 P2 A, D#, G, C#, F#, B Vln. B P Vln. B

Cl. E P Vln. D#

43 81c M6 P3 F#, B#, E, A#, D#, G#

Vln. D# P Vln. E

Vln. B P Vln. B#

Vc. A P Vla. G#

F# has no transformation

44 82 m3 P3 E, A, D, G, C, F

Vln. E P Vln. F

Vln. B# P Vln. D

Vla. A# P Vla. A

E has no transformation

45 82b M6 P3 C, F#, B, E, A, D Vln. F P Vln. F#

Vla. A P Vla. A#

Vc. E P 8va Vln. E

46 82c M6 P2, S(A#) A, D#, G, C#, F#, B

Vln. F# P Vln. G

Vln. E P Vln. E

Vla. A# S Vln. G & 8vb

Vc. A

47 83-85 M6 P2, S(G), C(E) F#, B#, E, A#, D#, G#

Vln. G S Vln. G# & Vc.

F#

Vla. C# P Pno. B#

Vc. A P 8va Pno. A#

Vln. E C Pno. E

48 86 m6 P1, C(B) D, G#, C, F#, B, E Pno. B# C Pno. B

Pno. D# P Vla. D

A# is deleted

49 87-89 m3 P2, S(F#) F, B, E, A, D, G

Pno. G# P Pno. A

Pno. E P Pno. E

Pno./Vc. F# S Vc. F &

Pno. G

C is deleted

50 90 TT P1 B, E#, A, D#, G#, C# Vln. D P Vln. C#

51 91-93 TT P1 F, B, E, A, D, G

Vln. C# P Pno. D

G remains from previous

chord

52 94-96 m6 P1, C(A#) C#, Fx, B, E#, A#, D# Vln. D P Vln. C#

Pno. B C Pno. A#

A is deleted

64

Ch

ord

#

Mea

sure

#

Inte

rval

Transformation MC Notes Comments

53 96b-97 TT P2 G, C#, F, B, E, A Pno. D# P Pno. E

Pno. A# P Pno. A

54 98 m6 C(C) E, A, D, G, C, F

Fl. C# C Fl. C

E has no clear

transformation

55 99 M6 P3, C(D) C, F#, B, E, A, D

Fl. C C Fl. D

Vla. G P Vln. F#

Ob. A P Ob. B

Bsn. E P 8va Ob. E

56 99b-100 m3 P2, S(F#) E, A, D, G, C, F

w/o Luce for 2 beats in m.

99

Vln. F# S Vln. F & Vln.

G

Vla. E P Vla. E

E. Hn. B P Hn. A

D remains from previous

chord

57 101-102 m2 P3, C(D) E, A#, D, G#, C#, F#

Hn. F P Hn. F#

Fl. D C Fl. D

Hp. E P Hp. F

Hn. A P Hn. A#

A reamins from previous

chord

58 103-104 M7 P2, S(G#), C(C) E, A, D, G, C, F

Cello C# C Cello C

Vla. F# P Vla. F

Vc. E P Vc. E

Vln. G# S Vln. G & Fl. A

A# is deleted

59 105 m6 P1 B, E#, A, D#, G#, C# Vln. G P Vln. G#

B has no transformtion

60 106 TT F, B, E, A, D, G

61 107-108 m3 P3 A, D, G, C, F, B

Hn. D# P Hn. D

Fl. A P Fl. B

Hn. F P Vln. G

A & C has no

transformations

62 109 m6 P3, C(E) F, B, E, A, D, G

Fl. B P Fl. B

Hn. G P Hn. G

Vla. D C Vla. E

Bsn. A P 8va Cl. A

63 110 TT P1 B, E#, A, D#, G#, C# Hn. G P Hn. G#

64 111-112 TT P1, C(D) F, B, E, A, D, G Hn. G# P Hn. G

Hn. E C Hn. D

65 113-114 m6 P1 C#, Fx, B, E#, A#, D# Bsn. D P Bsn. D

65

Ch

ord

#

Mea

sure

#

Inte

rval

Transformation MC Notes Comments

66 115 d7 P1, S(E), C(A) B, E, A, D, G, C

Hn. E S Hn. D & Vla. E

Hn. G C Hn. A

Cl. B P E. Hn. C

B has no transformation

67 116 m3 P3 C#, Fx, B, E#, A#, D#

Vla. E P Vla. E

Hn. D P Hn. C#

E. Hn. C P E. Hn. C

E# remains from previous

chord

68 117 d7 P3, C(A) B, E, A, D, G, C

Hp. E P Hp. E

Cl. D P Cl. D

Cl. C P Ob. C

Hn. G C Hn. A

69 118 M6 P3, C(F) G, C#, F, B, E, A

Picc. E C Picc. F

Ob. C P Ob. B

Cl. D P Cl. C#

Cl. A P Cl. A

B is deleted

70 119 M3 P2 B, E#, A, D#, G#, C# Cl. D P Cl. D

Hn. G P Hp. G#

71 120 m3 P2, S(E#) D, G#, C, F#, B, E

Cl. D# P Cl. D

Fl. C# P Fl. C

Hp./Vln. E# S Vln. F# &

Bsn. E

72 121 M6 P3, C(A) B, E#, A, D#, G#, C#

Cl. D P Cl. E

B. Cl. F# P B. Cl. F

Cl. C P Ob. C#

Ob. G# C Vln. A

E is deleted

73 122 d7 P1, S(C#), C(G) A, D, G, C, F, B Fl. E# C Fl. G

Ob. C# S Ob. C & Pno. D

Cl. A P Cl. B

74 123 M6 P1, S(B), C(E) F, B, E, A, D, G

Vla./Cl. B S Cl. B & Vla.

A

Pno. D C Hp. E

Fl. G P E. Hn. G

75 124 TT P2 B, E#, A, D#, G#, C# E. Hn. D P Bsn. C#

E. Hn. G P Ob. G#

76 125 TT P2 F, B, E, A, D, G Ob. G# P E. Hn. G

Bsn. C# P E. Hn. D

77 126 TT P1, C(G#) B, E#, A, D#, G#, C# E. Hn. D P Bsn. C#

Vla. A C Vla. G#

G is deleted

78 127-129 TT P1 F, B, E, A, D, G Bsn. G# P Bsn. G

D has no transformation

66

Ch

ord

#

Mea

sure

#

Inte

rval

Transformation MC Notes Comments

79 129b m3 A, D, G, C, F, B A & G have no

transformations

80 129c M6 P2 F, B, E, A, D, G Vln. D P Vln. E

Vla G P Vla. A

F has no transformation

81 129d m3 P1 A, D, G, C, F, B Vln. E P Vln. E

G & A have no

transformations

82 130 P4 P3 E, A, D, G, C, F

w/o Luce

Fl. E P Fl. F

Fl. C P F. D

Vla G P Vla. A

E has no transformation

83 130b P4 P2 A, D, G, C, F, B

Fl. D P Fl. D

Vln. F P Vln. G

C & G have no

transformations

84 130c M6 P2, C(E) F, B, E, A, D, G

Fl. G P Fl. G

Fl. D C Fl. E

Vc. A P C. Bsn. A

F & B have no

transformations

C is deleted

85 131 M6 P1, S(G), C(C) D, G#, C, F#, B, E

Vc. B C Vc. C

Pno. G S Pno. G# & Pno.

F#

Pno E P 8va Pno. E

86 132 TT P2 A, D, G, C, F, B Hn. E P Hn. F

Cl. B P Cl. B

87 133-134 M6 P4 F, B, E, A, D, G

Cl. B P Cl. A

Hn. G P Hn. G

Pno. C P Pno. B

Pno. F P Pno. E

D has no transformation

88 134b P4 P3 B, E, A, D, G, C

Vc. E P Vc. E

Vc. A P Vc. A

D.B. B P D.B. B

C has no transformation

89 135 M6 P3, C(F) G, C#, F, B, E, A

D.B. D P Hp. C#

Pno. B P Pno. 8va B

Pno. E C Pno. F

Pno. A P 8va Pno. A

90 136 TT P2 C#, Fx, B, E#, A#, D# E. Hn. E P E. Hn. E

Hn. A P Hn. B

67

Ch

ord

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Transformation MC Notes Comments

91 137-138 d7 P3 B, E, A, D, G, C

Cello E P Cello D

Vln. C P Vln. C

Pno. F P Pno. E

G & A have no

transformations

92 139-142 m6 P2 F#, B#, E, A#, D#, G# Pno. D P Pno. D#

Pno. G P 8va Pno. F#

93 143-144 M7 P3, C(D) F, B, E, A, D, G

Bsn. A# P Bsn. A

Hn. G# P Hn. G

Pno. D# C Pno. D

D.B. F# P Vc. F

B remains from previous

chord

94 144b M6 P2 D, G#, C, F#, B, E

w/o Luce

E. Hn. G P E. Hn. F#

Vln. E P Vln. E

C & G# have no

transformations

95 145 m6 P1 B, E, A, D, G, C follows voice 2 of Luce

Bsn. F# P Bsn. G

B has no transformation

96 146 M2 P1, C(A) C, F#, B, E, A, D Vc. F P Vc. F#

Bsn. B C Bsn. A

97 147-148 M7 P3, C(G#) B, E#, A, D#, G#, C#

Vc. F# P Vc. E#

Cl. A C Cl. G#

Bsn. E P Bsn. D#

Vln. D P Vln. C#

B has no transformation

98 148b d7 P2 A, D, G, C, F, B

Vln. B P Vln. B#

Hn. E# P through a

chromatic

descent to Hn. D

G has no transformation

99 149-152 m3 S(D), C(A) B, E#, A, D#, G#, C#

Hn. D S Hn. C# & Hn.

D#

Vln. G# C 8vb Vln. A

B has no transformation

100 153 m2 P2, C(B) C, F#, B, E, A, D

w/o Luce

Pno. C# P Pno. D

Pno. D# P Pno. E

Pno. A C Pno. B

G# moves to A

B moves to B

68

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Transformation MC Notes Comments

101 153b TT P2 F#, B#, E, A#, D#, G#

w/o Luce

Pno. D P Pno. D#

Pno. A P Pno. G#

B# & F# have no

transformations

102 154 TT P2 C, F#, B, E, A, D w/o Luce

Pno. D# P Pno. D

Pno. G# P Pno. A

103 154b TT P2 F#, B#, E, A#, D#, G#

w/o Luce

Pno. A P Pno. G#

Pno. D P Pno. D#

B# & F# have no

transformations

104 155-156 TT P2 C, F#, B, E, A, D w/o Luce

Pno. G# P Pno. A

Pno. D# P Pno. D

105 157-158 M7 P3, C(G#) B, E#, A, D#, G#, C#

Cl. E P Cl. D#

Vc. C P Vc. B

Pno. D P Pno. C#

Pno. A C Pno. G#

E# has no transformation

106 159 m2 P2, S(B) C, F#, B, E, A, D

w/o Luce

Hn. B S Hn. B & Hn. C

Pno. E# P Pno. F#

Pno. D# P Pno. D

C# is deleted

E remains from previous

chord

107 159b TT P2 F#, B#, E, A#, D#, G# w/o Luce

Pno. D P Pno. D#

Pno. A P Pno. G#

108 160 TT P2 C, F#, B, E, A, D w/o Luce

Pno. G# P Pno. A

Pno. D# P Pno. D

109 160b TT P2 F#, B#, E, A#, D#, G# w/o Luce

Pno. D P Pno. D#

Pno. A P Pno. G#

110 161-162 TT P2 C, F#, B, E, A, D Vln. D# P Vln. D

Vln. G# P Vln. A

111 163-164 M7 P2, S(D), C(G#) B, E#, A, D#, G#, C#

Vln. D S Vln. D# & Hp.

C#

Vln. A C Vln. G#

Vc. C P Vc. B

Hp. F# P Vln. E#

69

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Transformation MC Notes Comments

112 165-166 m2 P4, C(B) C, F#, B, E, A, D

Vc. B P Vc. C

Vln. E# P Vln. F#

Fl. C# P Fl. D

Cl. D# P Cl. E

Hp. A C Hp. B

G# moves to A

113 167-168 M7 P2, S(D), C(G#) B, E#, A, D#, G#, C#

Vc. C P Vc. B

Vln. F# P Vln. E#

Vln. D S Vln. D# & Hp.

C#

Vln. A C Vln. G#

E remains from previous

chord

B moves to A

114 169-172 m2 P2, S(D#), C(B) C, F#, B, E, A, D

Vln. E# P Vln. F#

Pno. B P Pno. C

Pno. A C Pno. B

Pno. D# S Pno. E & Vln.

D

G# moves to A

C# moves to D

115 172b M2 P2 D, G#, C, F#, B, E Hn. A P Hn. G#

Vln. B P Vln. B

116 173 M6 P2, C(A) B, E#, A, D#, G#, C#

Hn. G# C Hn. A

Pno. D P Pno. D#

Pno. F# P Pno. E#

C# has no transformation

117 173b m3 P3 D, G#, C, F#, B, E

Pno. D# P Pno. D

Pno. E# P Pno. F#

Pno. B P Pno. C

E remains from previous

chord

118 174-177 M6 P3, C(A) B, E#, A, D#, G#, C#

Pno. G# C Pno. A

Pno. D P Pno. D#

Pno. F# P Pno. E#

Pno. B# P Pno. C#

B has no transformation

119 177b m3 P1 D, G#, C, F#, B, E Ob. D# P Ob. E

Transition

120 177c-

180 M6 P1, C(G#) B, E#, A, D#, G#, C#

Fl. G# C Fl. A

Ob. E P Ob. E#

Same chord as before the

transition

121 181-182 TT P2 F, B, E, A, D, G Pno. C# P Pno. D

Pno. G# P Pno. G

70

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Transformation MC Notes Comments

122 182b M6 P3 D, G#, C, F#, B, E

E. Hn. G P. E. Hn. F#

Vln. E P Vln. E

Bsn. A P 8va Hn. A

C has no tranformation

123 183 m6 P1 B, E, A, D, G, C

B is for the whole

measure

w/o Luce for 2 beats

Bsn. F# P Bsn. G

B has no transformation

124 184 M2 P1, C(A) C, F#, B, E, A, D Vla. B C Vla. A

Bsn. F P BSn. F#

125 185 m7 P1 B, E, A, D, G, C w/o Luce

Vla. A P Vla. A

G has no transformation

126 186-196 M2 P1, C(A) C, F#, B, E, A, D Bsn. B C Bsn. A

Bsn. F P Bsn. F#

127 196b TT P2 F#, B#, E, A#, D#, G# w/o Luce

Pno. A P Pno. G#

Pno. D P Pno. D#

128 196c-

198 TT P2 C, F#, B, E, A, D Pno. G# P Pno. A

Pno. D# P Vc. D

129 199-200 P1 C, F#, B, E, A, D & F# is w/o Luce

Pno. D P Pno. D# F#, B#, E, A#, D#, G#

130 201 C, F#, B, E, A, D

131 202-206 m6 P1, C(F) A, D, G, C, F, B Hn. A P Hn. A

Tpt. F# C Tpt. F

132 206b TT P2 D, G#, C, F#, B, E w/o Luce

Pno. B P Pno. B

Pno. F P Pno. E

133 206c-

208 TT P2 A, D, G, C, F, B Pno. E P Pno. F

Pno. B P Pno. B

134 209-210 TT P1 A, D, G, C, F, B & D is w/o Luce

Pno. B P Pno. B D, G#, C, F#, B, E

135 211 TT A, D, G, C, F, B

136 212-214 M6 S(B), C(E) F, B, E, A, D, G

Vln./Hn. B S Hn. B &

Vln. A

Bsn. D C Bsn. 8va E

G has no transformation

137 215 M6 P3 D, G#, C, F#, B, E

Vln. G P Vln. F#

Vln. A P Vln. G#

Vln. F P Vln. E

C has no transformation

71

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Transformation MC Notes Comments

138 216 m3 P2, S(G#) F, B, E, A, D, G

Vln. E P Vln. E

Vln. F# P Vln. F

Fl./Vln. G# S Vln. G &

Cl. A

139 217 M6 P1, S(G), C(C) D, G#, C, F#, B, E

Hp./Hn. G S Hn. F# &

Hp. G#

Hn. B C Hn. C

Cl. E P Ob. E

140 218 M6 P1, S(E) B, E#, A, D#, G#, C#

Ob. E S Ob. D# & Pno.

E#

Cl. C P Cl. C#

141 219 M3 P1 E, A, D, G, C, F Cl. G P Cl. G

C has no transformation

142 220 m3 P3 F#, B#, E, A#, D#, G# Vln. F P Vln. E

Vln. A P Vln. A#

Vln. F P Vln. F#

143 221 d7 P3, C(D) E, A, D, G, C, F

Vc. B P Vc. A

Vln. C C Vln. D

Cl. F# P Cl. G

Vln. E P Vln. F

144 222 m3 P1 F#, B#, E, A#, D#, G# Cl. A P Cl. B

G#, E & F# have no

transformations

145 223-224 m3 P2, S(B#) A , D#, G, C#, F#, B

Vc. B P Vc. A

Vla. A P Vla. G

Ob./Vln. B# S Vln. B &

Ob. C#

E is deleted

146 225-226 M6 P3 F#, B#, E, A#, D#, G#

Ob. G P Ob. G#

Fl. B P Fl. B#

Bsn. A P 8va Bsn. A#

E has no transformation

147 227-228 m3 P3 A , D#, G, C#, F#, B

Ob. G# P Ob. G

Fl. B P Fl. B

Cl. D P Cl. C#

A has no transformation

148 229-231 m6 P2 F, B, E, A, D, G Fl. F# P 8vb Fl. F

Picc. C# P Picc. D

149 232 TT P2 B, E#, A, D#, G#, C# Cl. D P Cl. C#

Fl. G P Fl. G#

150 233-237 TT P2 F, B, E, A, D, G Fl. G# P Fl. G

Cl. C# P Cl. D

151 238 TT P2 B, E#, A, D#, G#, C# Hn. G P Hn. G#

Hn. D P Hn. C#

72

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Transformation MC Notes Comments

152 239-240 d7 P3, C(G) A, D, G, C, F, B

Hn. C# P Hn. C

Tbn. D# P Tbn. D

Vln. A P Vln. B

D.B. E# C D.B. G

B is deleted

153 241-242 P4 P2, S(D) C#, Fx, B, E#, A#, D#

Vln./Bsn. D S Bsn. D &

Vln. E

Hn. C P Hn. B

Tbn. A P Tbn. G

G is deleted

154 243-244 d7 P3, C(A) B, E, A, D, G, C

Bsn. G C Bsn. A

Hn. D P Hn. D

Vln. F P 8vb Pno. E

Tpt. C P Pno. C

155 245-246 m3 S(C), S(E) C#, Fx, B, E#, A#, D#

Pno. C S Vln. D & Ob.

C

Pno. E S Vln. E & Vln. F

156 247-249 d7 P1, S(E), C(A) B, E, A, D, G, C

Ob. B P Ob. C

Bsn. G C Bsn. A

Vln./Cl. E S Cl. E & Vln.

D

157 250 TT P2 E, A#, D, G#, C#, F# Fl. C P Fl. C#

Fl. G P Fl. F#

158 251-255 TT P2 B, E, A, D, G, C Fl. F# P Fl. G

Fl. C# P Fl. C

159 256 TT P2 E, A#, D, G#, C#, F# Fl. C P Fl. C#

Fl. G P Fl. F#

160 257-258 M6 P4 C#, Fx, B, E#, A#, D#

Ob. D P Ob. E

Hn. F# P Hn. F

Hn. G# P Hn. G

Hn. A# P Hn. C

E is deleted

161 259-260 P4 P2, S(G) F#, B#, E, A#, D#, G#

Hn./C. Bsn. G S C. Bsn.

Gb & Hn. G#

Bsn. D P Bsn. C

Vln. F P Hp. E

162 261-262 m3 P3, C(G) A , D#, G, C#, F#, B

Ob. B P Ob. B

C. Bsn. G C. Bsn. G

Hn. A P Hn. A

Ob. C P Ob. C#

163 263 TT P2 E, A, D, G, C, F Cl. B P Cl. C

Cl. F# P Cl. F

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Transformation MC Notes Comments

164 264 M6 P3, C(B) C, F#, B, E, A, D

C is voice 2 w/ B in

voice 1

Fl. E P Fl. D

E. Hn. F P E. Hn. E

Hn. A C Hn. B

Vla. G P Vla. F#

165 265-266 m7 P2 B, E, A, D, G, C Vla. F# P Vla. G

Tpt. A P Tpt. A

166 267 TT P2 E, A#, D, G#, C#, F# Ob. C P Ob. D

E. Hn. G P E. Hn. F#

167 268 M6 S(G), C(C) C#, Fx, B, E#, A#, D# Hn. A# C Hn. C

Ob. G S Ob. G & Hn. F

D# has no transformation

168 269 M3 P1, C(D) F, B, E, A, D, G Vc. A P Vc. A

Ob. E C Ob. D

169 270 M6 P2, C(C) D, G#, C, F#, B, E

Fl. F P Fl. E

E. Hn. G P E. Hn. G#

Fl. B C Fl. C

F# has no transformation

170 271 M3 P1, C(E) F#, B#, E, A#, D#, G# E. Hn. E C E. Hn. E

Vc. A P Vc. B

171 272-273 d7 P2 E, A, D, G, C, F

Fl. A P Fl. A

Vln. G P Vln. G

F & D has no

transformation

172 274-275 m3 P1, S(F) F#, B#, E, A#, D#, G#

Ob. A P Ob. G#

Vln. F S Vln. E & Hp. F#

A# remains from previous

chord

173 276 d7 P2, C(D) E, A, D, G, C, F Fl. C C Fl. D

Vln. F P Vln. F

Vln. A P Vln. G

174 277-280 M3 P3 G, C#, F, B, E, A E. Hn. C P Cl. B

Ob. F P Cl. E

Glk. B P Hp. A

175 281-292 M6 P2, C(D) E, A#, D, G#, C#, F#

Fl. A P Fl. A#

Tbn. C# C Tbn. D

Tbn. G P Tbn. G#

F# has no transformation

176 293-300 P4 P1, C(G) A , D#, G, C#, F#, B

Ob. F# C Ob. G

Vln. B# P Vln. B

A remains from previous

chord

D# has no transformation

74

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Transformation MC Notes Comments

177 301-303 m6 P1 F, B, E, A, D, G Picc. C# P Picc. D

F has no transformation

178 304 m6 P1 C#, Fx, B, E#, A#, D# Cel. A P Cel. B

179 305-308

C#, Fx, B, E#, A#, D# &

F, B, E, A, D, G &

A, D#, G, C#, F#, B

180 309 P3 D, G#, C, F#, B, E Vln. A P Vln. G#

Vln. D P Vla. C

Pno. E P Fl. E

181 310 m3 P3 F, B, E, A, D, G

Fl. E P Fl. E

Hp. G# P Hp. G

Hn. F# P Cl. F

A remains from previous

chord

182 311 M6 P3, C(C) D, G#, C, F#, B, E

Fl. E P Ob. E

Cl. F P Cl. F#

Hn. B C Hn. C

Hp. G P Vln. G#

183 312 M6 P3, C(A) B, E#, A, D#, G#, C#

Picc. G# C Picc. A

Ob. E P Ob. D#

Vln. C P Pno. C#

Cl. F# P Cl. F

184 313 TT P1 E, A, D, G, C, F Cl. G P Cl. G

C has no transformation

185 314 m3 P3 F#, B#, E, A#, D#, G#

Fl. F P Fl. F

Hp. A P Hp. B

Cl. G P Cl. F#

G# has no transformation

186 315 d7 P3, C(D) E, A, D, G, C, F

Fl. F P Fl. F

Ob. C C Ob. D

Cl. F# P Cl. G

B. Cl. B P B. Cl. A

G# deleted

187 316 M6 P3, C(B) C, F#, B, E, A, D

Picc. A C Picc. B

Ob. F P Ob. E

Vln. G P Vln. F#

Vln. D P Vln. D

188 317 M6 S(D), C(G) A , D#, G, C#, F#, B Vln. F# C Vln. G

Cl. D S Cl. D# & Cl. C#

B has no transformation

189 318 TT P2 E, A, D, G, C, F E. Hn. B P Ob. C

E. Hn. F# P Bsn. F

190 319 TT P2 A , D#, G, C#, F#, B Ob. C P E. Hn. B

Bsn. F P E. Hn. F#

75

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Transformation MC Notes Comments

191 320 TT P1, C(C) E, A, D, G, C, F E. Hn. F# P Bsn. F

E. Hn. D# C Bsn. C

192 321-323 TT P2 A , D#, G, C#, F#, B Bsn. C P Cl. B

Bsn. F P Cl. F#

193 323b m3 C, F#, B, E, A, D C, B & E has no

transformations

194 323c M6 P1 A, D#, G, C#, F#, B Vln. F# P Vln. G

C# & A have no

transformations

195 323d m3 P1 C, F#, B, E, A, D Vln. G P Vln. G#

C, B & E have no

transformations

196 324 M6 P2 A, D#, G, C#, F#, B

Vln. G# P Vln. A

Fl. E P Fl. F

G & C# have no

transformations

197 324b m3 P2 C, F#, B, E, A, D

Vln. A P Vln. B

Fl. F P Fl. F#

C & E have no

transformations

198 324c M6 P2, C(G) A, D#, G, C#, F#, B

Fl. B P Fl. B

Fl. F# C Fl. G

Vc. C P Vc. D#

A & C# have no

transformations

199 325 M6 P2, C(E) F#, B#, E, A#, D#, G#

Vln. D# C Hp. E

Cl. C# P Fl. B#

Cl. G P Fl. G#

A# has no transformation

200 326 TT P2 C, F#, B, E, A, D Fl. D# P Fl. D

Ob. G# P Ob. A

201 327-328 M6 P3, C(G) A , D#, G, C#, F#, B

Ob. B P Ob. B

E. Hn. F# C Cl. G

Hn. D P Hn. C#

Vln. E P Vln. D#

C is deleted

202 328b TT P1, C(C) E, A, D, G, C, F Tpt. F# P Tpt. F

Tpt. C# C Tpt. C

Mostly a transition

203 328c TT A , D#, G, C#, F#, B Same chord as before

the transition chord

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Transformation MC Notes Comments

204 328d P4 P3 D, G#, C, F#, B, E

Cl. C# P Cl. C

Cl. G P Cl. G#

Bsn. D# P Bsn. D

E has no transformation

205 329-333 M6 P1, C(A) B, E#, A, D#, G#, C#

Pno. C P Pno. C#

Pno. G# C Pno. A

Pno. E S Pno. D# & Pno.

E#

206 334 TT P2 F, B, E, A, D, G Fl. C# P Fl. D

Ob. G# P Hn. G

207 335 M6 P3 D, G#, C, F#, B, E

Ob. E P Ob. E

Hn. G P Hn. F#

Vln. A P Vln. G#

C remains from previous

chord

208 336 TT P1, C(B) A, D, G, C, F, B Tpt. F# P Tpt. F

Tpt. B C Tpt. B

Mostly a transition

209 336b TT D, G#, C, F#, B, E Same chord as before

the transition chord

210 336c P4 P3 G, C#, F, B, E, A

Cl. F# P Cl. F

Cl. C P Cl. C#

Bsn. G# P Bsn. G

A has no transformation

211 337-341 M6 P2, C(D) E, A#, D, G#, C#, F#

Pno. F P Pno. F#

Pno. C# C Pno. D

Pno. A P Pno. A#

G# has no transformation

212 342 TT P2 B, E, A, D, G, C E. Hn. C# P E. Hn. C

Picc. F# P Picc. G

213 343 m6 P1 F#, B#, E, A#, D#, G# Tpt. D P Tpt. D#

F# has no transformation

214 344 TT P2 C, F#, B, E, A, D Ob. A P Ob. A

Cello D# P Cello D

215 345-350 m3 P3 E, A, D, G, C, F

Pno. F# P Pno. G

Tpt. D P Tpt. D

Cello E P Cello F

E has no transformation

216 351 M2 P2, S(A) F#, B#, E, A#, D#, G#

Ob./Picc. A S Picc. B &

Ob. A

Picc. F P Picc. E

Bsn. G P Bsn. F#

217 352 TT P2 C, F#, B, E, A, D Fl. A P Fl. A

Cl. D# P Cl. D

77

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Transformation MC Notes Comments

218 353 m6 P2 A, D, G, C, F, B Fl. E P Fl. F

Hp. A P Hp. A

219 354 TT P2 D, G#, C, F#, B, E Hn. F P Hn. E

Cel. B P Cel. B

220 355-360 m3 P2, C(E) F, B, E, A, D, G

Bsn. D C Bsn. E

Hp. G# P Hp. A

Fl. F# P Fl. G

F has no transformation

221 361-363 m3 P2, C(G) A, D, G, C, F, B

Ob. C# P Ob. C

E. Hn. A P E. Hn. B

Cl. F C Cl. G

A has no transformation

222 363b-

364 m6 P2, S(A), C(E) F, B, E, A, D, G

Fl. B & Fl. G S Fl. A

Bsn. D C Bsn. E

Hn. C P Hn. B

Tbn. G P Tbn. G

A is deleted

223 365-367 m3 P2, C(G) A, D, G, C, F, B

Vla. F C Vla. G

Fl. A P Fl. B

Hn. B P Tpt. C

A has no transformation

224 367b-

370 M6 P2, C(E) F, B, E, A, D, G

Cl. B P Cl. A

Bsn. D C Bsn. E

Hn. C P Hn. B

G has no transformation

225 371 M6 P1, C(C) D, G#, C, F#, B, E Bsn. B C Bsn. C

Hn. F P Hn. F#

226 371b m3 P1 F, B, E, A, D, G

Hn. D P Hn. E

F & A have no

transformations

227 372-376 M6 P1, C(C) D, G#, C, F#, B, E

Bsn. B C Bsn. C

Hn. D# P Hn. E

F# & D have no

transformations

228 377-384 M6 P1, S(E), C(A) B, E#, A, D#, G#, C# Pno. E S Pno. D# & E#

Pno. G# C Pno. A

Hn. C P Hn. C#

229 385-388 d7 P4 A, D, G, C, F, B

Pno. D# P Pno. D

Pno. C# P Pno. C

Pno. A P Pno. B

Pno. F P Pno. G

230 389 TT P2 D, G#, C, F#, B, E Fl. B P Fl. B

Fl. F P Fl. E

78

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Transformation MC Notes Comments

231 390 TT P2 A, D, G, C, F, B Cl. B P Cl. B

E. Hn. E P E. Hn. F

232 391 M6 P1, S(G) F, B, E, A, D, G Vc. G S Vc. F & Vln. G

Vln. B P Vln. B

233 391b M6 P1, S(G) D, G#, C, F#, B, E

Vln. B P Vln. C

Vln. G S Vln. G# & Vla.

F#

D has no transformation

234 392 M6 P3 B, E#, A, D#, G#, C#

Vln. C P Vln. C#

Vln. G# P Vln. A

Vla. F# P Vla. E#

B has no transformation

235 392b d7 P1, S(C#) A, D, G, C, F, B

Vln. C# S Vln. D & Vln.

C

Vla. E# P Vla. F#

A has no transformation

236 392c M6 P4 F, B, E, A, D, G

Vln. D P Vln. D#

Vln. C P Vln. B

Vc. A P 8va Vla. A

Vla. F# P 8vb Vc. F

237 393-397 M6 P3, C(C) D, G#, C, F#, B, E

Hn. D# P Hn. E

Vln. B C Vln. C

Vc. F P 8va Vla. F#

Vla. A P 8va Pno. G#

D has no transformation

238 398 TT P2 A, D, G, C, F, B Pno. B P Pno. B

Pno. E P Pno. F

239 399 TT P2 D, G#, C, F#, B, E Pno. B P Pno. B

Pno. F P Pno. E

240 400 TT P1 A, D, G, C, F, B Pno. B P Pno. B

241 401 TT P1 D, G#, C, F#, B, E

Pno. B P Pno. B

E remains from previous

chord

242 402-405 TT P1 A, D, G, C, F, B Pno. B P Pno. B

F has no transformation

243 405b M6 P2 F, B, E, A, D, G Vln. C P Vln. B

Vla. G P Vln. G

244 405c M6 P1, S(G) D, G#, C, F#, B, E

Vln. B P Vln. C

Vln. G S Vln. G# & Vla.

F#

D has no transformation

245 406 M6 P3 B, E#, A, D#, G#, C#

Vln. C P Vln. C#

Vln. G# P Vln. A

Vla. F# P Vla. E#

B has no transformation

79

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Transformation MC Notes Comments

246 406b d7 P1, S(C#) A, D, G, C, F, B

Vln. C# S Vln. D & Vln.

C

Vla. E# P Vla. F#

A has no transformation

247 406c M6 P4 F, B, E, A, D, G

Vln. D P Vln. D#

Vln. C P Vln. B

Vc. A P 8va Vla. A

Vla. F# P 8vb Vc. F

248 407 M6 P3, C(C) D, G#, C, F#, B, E

Hn. D# P Hn. E

Vln. B C Vln. C

Vc. F P 8va Vla. F#

Vla. A P 8va Pno. G#

D has no transformation

249 408 P4 P4 G, C#, F, B, E, A

Vla. F# P Vla. G

Vc. D P D.B. C#

Tpt. B P Tpt. A

Pno. E P Tpt. F

250 409 M6 P3, C(D) E, A#, D, G#, C#, F#

Hn. A P Hn. G#

Hn. C# C Hn. D

Pno. B P Pno. A#

Tpt. F P Vln. F#

G is deleted

251 410 TT P2 B, E, A, D, G, C w/o Luce

Pno. F# P Pno. G

Pno. C# P 8va Pno. C

252 410b M6 P2, C(F) G, C#, F, B, E, A

w/o Luce

Pno. B P Pno. B

Vln. D P 8vb Hn. C#

Vc. E C D.B. F

253 411 M6 P1, S(G), C(D) E, A#, D, G#, C#, F#

Hn. G S Hn. G# & Pno.

F#

Hn. B P Cl. A#

Hn. C# C Pno. D

254 412 P4 P2, S(G#) A , D#, G, C#, F#, B

Hn./Vla. G# S Vla. G &

Hn. A

Bsn. E P Bsn. D#

Cl. A# P 8va Tpt. B

255 413 M6 P3, C(E) F#, B#, E, A#, D#, G#

Hn. A P Hn. B

Hn. E C Hn. E

Vln. G P Vla. G#

Tpt. B P Tpt. C

256 414 TT P2 C, F#, B, E, A, D Pno. G# P Pno. A

Pno. D# P Pno. D

257 414b TT F#, B#, E, A#, D#, G#

80

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Transformation MC Notes Comments

258 414c m3 P3, C(G) A, D#, G, C#, F#, B

Pno. E P Hn. E

Vc. F# C D.B. G

Pno. B P 8vb Hn. A

Pno. C P 8vb Hn D

259 415 P5 E, A#, D, G#, C#, F# E & G# have no

transformations

260 415b M2 F#, B#, E, A#, D#, G# B#, A# & D# have no

transformations

261 415c d7 P2, C(D) E, A, D, G, C, F Vln. E P Vln. F

E. Hn. A P 8vb Cl. A

Cl. B# C Cl. D

262 416 M3 P1 G, C#, F, B, E, A

E. Hn. C P Hn. B

G & E have no

transformations

263 416b M7 P4, C(D#) F#, B#, E, A#, D#, G#

B. Cl. G P B. Cl. F#

Pno. B P Pno. A#

Pno. C# P Pno. B#

Pno. E C Pno. D#

Pno. A P Pno. G#

F moves to E

264 416c m3 P1, S(B#) A , D#, G, C#, F#, B

Pno. G# P Pno. G

Pno. B# S Pno. B & Pno.

C#

A has no transformation

265 417 m2 P4, C(A) B, E, A, D, G, C

Bsn. A P Bsn. B

Hn. B P Hn. C

Hn. D# P Hn. E

Hn. G C Hn. A

Pno. C# P Pno. D

F# moves to G

266 417b M6 P1, C(F) G, C#, F, B, E, A Cl. E C Cl. F

Vln. A P Vln. A

C# has no transformation

267 418 M3 P1 B, E#, A, D#, G#, C# E. Hn. E P E. Hn. D#

G# & B have no

transformations

268 418b M7 P4, C(G) B, E, A, D, G, C

Vc. B P Vc. B

Vla. C# P Vla. C

Pno. D# P Pno. D

Pno. E# P Pno. E

Pno. G# C Pno. G

A moves to A

269 418c m3 S(E), S(C) C#, Fx, B, E#, A#, D#

Pno. E S Pno. E# & Pno.

E

Vla/Pno. C S Pno. B &

81

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#

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rval

Transformation MC Notes Comments

Vc. D

270 419 m6 P1 A , D#, G, C#, F#, B Pno. F P Pno. F#

A has no transformation

271 420 P4 P2, S(C#) D, G#, C, F#, B, E

D.B. A P D.B. G#

Tpt. F P Tpt. E

Pno./Vc. C# S Vla. D &

Vln. C

272 421 M6 P3, C(A) B, E#, A, D#, G#, C#

Hn. D P Hn. D#

Hn. G# C Hn. A

Vln. E P Vln. E#

Vln. C P Vla. C#

273 422 TT P2 F, B, E, A, D, G Pno. G# P Pno. G

Pno. C# P Pno. D

274 422b TT B, E#, A, D#, G#, C#

275 422c m3 D, G#, C, F#, B, E D, G#, C & F# have no

transformations

276 423 M6 P2, C(A) B, E#, A, D#, G#, C#

Hn. D P Hn. D#

Hn. G# C Hn. A

Hn. F# P Pno. E#

C# has no transformation

277 424 P4 P2 E, A#, D, G#, C#, F#

Hn. A P Hn. B

Pno. E# P Tpt. F#

D & E have no

transformations

278 425 M6 P2, C(C) C#, Fx, B, E#, A#, D#

Ob. G# P Ob. G

Hn. F P Hn. F

Hn. B C Hn. C

D# has no transformation

279 426 TT P1 G, C#, F, B, E, A Pno. E P Pno. E

A has no transformation

280 426b TT C#, Fx, B, E#, A#, D#

281 426c m3 P1, C(D) E, A#, D, G#, C#, F#

Vc. C# C D.B. D

Vln. B P 8vb Hn B

E remains from previous

chord

G# has no transformation

282 427 M6 P3 C#, Fx, B, E#, A#, D# Hn. F P Hn. E

Hn. A P Hn. G

Hn. B P Hn. C

283 427b d7 P2 B, E, A, D, G, C

Cl. C P Cl. C

Cl. E P Cl. E

A & B have no

transformations

82

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Transformation MC Notes Comments

284 428 M3 C(F#), C(B) D, G#, C, F#, B, E E. Hn. G C E. Hn. F#

Vln. C C 8va Pno. B

D has no transformation

285 428b M7 P4, C(B) C#, Fx, B, E#, A#, D#

B. Cl. D P B. Cl. D

Pno. F# P Pno. F

Pno. G# P Pno. G

Pno. B C Pno. B

Pno. E P Pno. E

C moves to C

286 428c m3 P1, S(G) E, A#, D, G#, C#, F#

Pno. G S Pno. G# & Pno.

F#

Pno. E P Pno. D

E has no transformation

287 429 m2 P4, C(E) F, B, E, A, D, G

Bsn. E P Bsn. F

Hn. F# P Hn. G

Hn. A# P Hn. B

Hn. D C Hn. E

Pno. G# P Pno. A

C# moves to D

288 429b M6 P2, C(C) D, G#, C, F#, B, E Cl. E P Cl. E

Cl. B C Cl. C

Cl. G P Cl. G#

289 430 M3 P1 F#, B#, E, A#, D#, G# E. Hn. B P E. Hn. B

D# & F# have no

transformations

290 430b M7 P4, C(D) F, B, E, A, D, G

B. Cl. F# P B. Cl. F

Cl. C P Hn. B

Cl. A P Hn. G

Pno. A# P Pno. A

Pno. D# C Pno. D

E moves to E

291 430c m3 P1, S(B) A, D, G, C, F, B

Pno./Hn. B S Hn. B &

Pno. C

Hn. G P Hn. G

A has no transformation

292 431 m2 P4, C(G) A , D#, G, C#, F#, B

Bsn. A P Bsn. A

Hn. D P Hn. D#

Hn. B P Hn. B

Pno. C P Pno. C#

Vln. G C Vln. G

293 431b M6 P2, C(E) F#, B#, E, A#, D#, G# Cl. G P Cl. G#

Cl. D# C Cl. E

Cl. B P Cl. B#

83

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#

Inte

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Transformation MC Notes Comments

294 432 M3 P1 B, E, A, D, G, C E. Hn. D# P E. Hn. D

B & G have no

transformations

295 432b M7 P4, C(F#) A , D#, G, C#, F#, B

B. Cl. B P B. Cl. A

Pno. D P Pno. C#

Pno. E P Pno. D#

Pno. G C Pno. F#

Pno. C P Pno. B

296 432c m3 P1, S(D#) C, F#, B, E, A, D

Hn. B P Hn. B

Pno. D# S Pno. E & Pno.

D

C has no transformation

297 433 m2 P4, C(C) C#, Fx, B, E#, A#, D#

Bsn. C P Bsn. D

Hn. F# P Hn. G

Hn. B C Hn. C

Vln. D P Vln. E

Pno. E P Pno. F

A moves to B

298 433b M7 P4, C(A) C, F#, B, E, A, D

Bsn. D P Bsn. C

Pno. F P Pno. E

Pno. G P Pno. F#

Pno. B C Pno. A

Pno. E P Pno. D

299 433c m3 P1, S(F#) E, A, D, G, C, F

Cl. D P Cl. D

Pno. F# S Pno. G & Pno.

F

E has no transformation

300 434 m2 P4, C(D) E, A#, D, G#, C#, F#

Ob. F P Ob. F#

Cl. D C Cl. D

Cl. A P Cl. A#

Pno. G P Pno. G#

Hn. E P Hn. E

301 434b m3 P3 G, C#, F, B, E, A

Cl. F# P Cl. F

Pno. G# P Pno. A

Pno. A# P Pno. B

G has no transformation

302 434c m3 P3 B, E, A, D, G, C Cl. A P Cl. A

Cl. C# P Cl. C

Pno. B P Pno. B

303 435 m3 S(C), S(E) C#, Fx, B, E#, A#, D#

Pno./Fl. C S Fl. B & Pno.

C#

Pno./Vla. E S Vla. F &

Pno. D#

304 435b TT P2 G, C#, F, B, E, A Pno. B P Pno. A

Pno. E P Pno. E

84

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#

Inte

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Transformation MC Notes Comments

305 435c TT P2 C#, Fx, B, E#, A#, D# Pno. E P Pno. E

Pno. A P Pno. A#

306 436 TT P2 G, C#, F, B, E, A Pno. B P Pno. A

Pno. E P Pno. E

307 436b TT P2 C#, Fx, B, E#, A#, D# Pno. E P Pno. E

Pno. A P Pno. A#

308 436c TT P2 G, C#, F, B, E, A Pno. B P Pno. A

Pno. E P Pno. E

309 437 TT P2 C#, Fx, B, E#, A#, D# Pno. E P Pno. E

Pno. A P Pno. A#

310 437b TT P2 G, C#, F, B, E, A Pno. B P Pno. A

Pno. E P Pno. E

311 437c TT P2 C#, Fx, B, E#, A#, D# Pno. E P Pno. E

Pno. A P Pno. A#

312 438 TT P2 G, C#, F, B, E, A Pno. B P Pno. A

Pno. E P Pno. E

313 438b TT P2 C#, Fx, B, E#, A#, D# Pno. E P Pno. E

Pno. A P Pno. A#

314 438c TT P2 G, C#, F, B, E, A Pno. B P Pno. A

Pno. E P Pno. E

315 439-440 TT P2 C#, Fx, B, E#, A#, D# Pno. A P Pno. B

Pno. E P Pno. E

316 441-444 m6 P2 A , D#, G, C#, F#, B B. Cl. B P B. Cl. A

Pno. F P Pno. F#

317 445-450 TT P2 E, A, D, G, C, F Ob. B P Ob. C

Pno. F# P Pno. F

318 451 m3 P1, S(A), C(F) F#, B#, E, A#, D#, G#

Bsn. E C Bsn. F

Hn. G P Hn. G

Fl./Bsn. A S 8va Bsn. B

& Fl. A

319 452 m3 P2 A , D#, G, C#, F#, B

Alto C P Alto B

Fl. B P Hp. A

C# remains from previous

chord

G has no transformation

320 453 P5 P3 E, A#, D, G#, C#, F# Fl. A P Fl. B

Fl. F P Fl. E

Vln. G P Vln. A

321 454 M7 P2, S(F), C(C) E, A, D, G, C, F

Cl. B P Cl. A

Vln. A P Vln. G

Cello D C Cello C

Vln./Cl. F S Cl. F & Vln.

E

322 455 M3 P1, C(E) G, C#, F, B, E, A Fl. A# P Fl. B

Cello F C Cello E

85

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#

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#

Inte

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Transformation MC Notes Comments

323 456 m3 P2, S(A) B, E, A, D, G, C

Alto C# P Alto D

Vc. C# P Vc. C

Vla./Vln. A S Vln. A &

Vla. B

324 457 M6 P3 G, C#, F, B, E, A

Vln. A P Vln. A

Alto D P Alto C#

Vla. B P Vla. B

F has no transformation

325 458 M6 P3, C(D) E, A#, D, G#, C#, F#

Fl. A P Fl. G#

Cl. B P Cl. A#

Alto C# C Alto D

Vln. F P Vln. F#

326 459 m2 P3 F, B, E, A, D, G

B. Cl. G# P B. Cl. G

Bsn. F# P Bsn. F

Hn. B P Hn. C

E has no transformation

327 460-467 m6 P1 C#, Fx, B, E#, A#, D# C# remains from previous

chord

Vln. C P Vln. B

328 468-470 d7 P1, S(E), C(A) B, E, A, D, G, C

Org./Fl. E S Fl. E & Org.

D

Fl. G C Fl. A

Vln. C P Vln. C

329 471-473 TT P2 E, A#, D, G#, C#, F# Fl. C P Cl. C#

Vln. G P Vln. F#

330 474-478 M6 P3, C(C) C#, Fx, B, E#, A#, D#

Fl. F# P Fl. G

Fl. A# C Fl. C

Fl. D P Fl. E

Bass E P Bass F

G# is deleted

331 479 P4 P2, S(F) F#, B#, E, A#, D#, G#

F# is voice 2

Fl. C P Fl. C

Vln. G P Vln. A

Bsn./Ob. F S Ob. F &

Bsn. G

C# is deleted

332 480-482 d7 P3, C(D) E, A, D, G, C, F

Bsn. G P Bsn. G

Hn. B P Hn. A

Ob. C C Ob. D

Vln. F P Vln. F

G# is deleted

333 483-485 TT P2 A , D#, G, C#, F#, B Fl. F P Fl. F#

Vln. C P Vln. B

86

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#

Inte

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Transformation MC Notes Comments

334 486-491 M6 P3 F#, B#, E, A#, D#, G#

Hn. C# P Hn. C

Hn. B P Hn. B

Vln. G P Vln. A

E remains from previous

chord

335 492-503 m6 C(B) D, G#, C, F#, B, E Ob. C C Ob. B

D has no transformation

336 504-505 M7 P1 C#, Fx, B, E#, A#, D#

All scores have C in voice

1,but the chord is clearly

C#.

Cl. C P Cl. D

G remains from previous

chords

F#, A# & D# have no

transformations

337 505b M6 P2 B, E, A, D, G, C Vln. E P Vln. E

Vln. C# P Vln Cx

A has no transformation

338 506-515 M2 P2, C(B) C#, Fx, B, E#, A#, D#

Vln. Cx P Vln. D#

Hn. F P Hn. F

Fl. A# C Fl. B

C# has no transformation

339 516-521 m2 P4, C(C) D, G#, C, F#, B, E

Pno. D# P Pno. E

Pno. B C Pno. C

Vla. E# P Vla. F#

Vc. C# P Vc. D

Vc. G P Bsn. G#

A# moves to B

340 522-523 M7 P2, S(F#) C#, Fx, B, E#, A#, D#

Pno. E P Pno. D#

Pno. F# S Pno. E# & Pno.

Fx

A# remains from previous

chord

Vc. D P Vc. C#

341 523b TT P2 G, C#, F, B, E, A Pno. A# P Pno. A

Pno. D# P Pno. E

342 524-525 TT P1, C(B) C#, Fx, B, E#, A#, D# Hn. C C Hn. B

Pno. E P Pno. D#

343 525b TT P2 G, C#, F, B, E, A Pno. A# P Pno. A

Pno. D# P Pno. E

344 526 TT P1, C(B) C#, Fx, B, E#, A#, D# Hn. C C Hn. B

Pno. E P Pno. D#

345 526b d7 P2, C(A) B, E, A, D, G, C Cl. C P Cl. C

Cl. E P Cl. E

Cl. G C Cl. A

87

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ord

#

Mea

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#

Inte

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Transformation MC Notes Comments

346 527 M3 D, G#, C, F#, B, E D, F# & B have no

transformations

347 528 M7 P4, C(A#) C#, Fx, B, E#, A#, D#

Bsn. D P Bsn. C#

Hn. E P Hn. D#

Hn. G# P Hn. Fx

Pno. B C Pno. A#

Pno. F# P Pno. E#

348 528b m3 P1, S(Fx) E, A#, D, G#, C#, F#

Hn. D# P Hn. D

Pno. Fx S Pno. G# & Pno.

F#

E has no transformation

349 529 m2 P4, C(E) F, B, E, A, D, G

Bsn. E P Bsn. F

Pno. G# P Pno. A

Pno. D C Pno. E

Pno. F# P Pno. G

Pno. A# P Pno. B

C# moves to D

350 529b m3 P1, S(B) A, D, G, C, F, B

Hn. G P Hn. G

Pno. B S Pno. B & Pno.

C

A has no transformation

351 530-531 P4 P3 C#, Fx, B, E#, A#, D#

Pno. C P Pno. B

Pno. D P Pno. D#

Pno. G P Pno. Fx

C# has no transformation

352 531b TT P2 G, C#, F, B, E, A Pno. A# P Pno. A

Pno. D# P Pno. E

353 532-533 TT P2 C#, Fx, B, E#, A#, D# Pno. A P Pno. B

Pno. E P Pno. E

354 533b TT P2 G, C#, F, B, E, A Pno. A# P Pno. A

Pno. D# P Pno. E

355 534 TT P2 C#, Fx, B, E#, A#, D# Pno. A P Pno. B

Pno. E P Pno. E

356 534b d7 P2, C(A) B, E, A, D, G, C Cl. C P Cl. C

Cl. G C Cl. A

Cl. E P Cl. E

357 535 M3 D, G#, C, F#, B, E D, F# & B have no

transformations

358 536 M7 P4, C(A#) C#, Fx, B, E#, A#, D#

Bsn. D P Bsn. C#

Hn. E P Hn. D#

Hn. G# P Hn. Fx

Pno. B C Pno. A#

Pno. F# P Pno. E#

88

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ord

#

Mea

sure

#

Inte

rval

Transformation MC Notes Comments

359 536b m3 P1, S(Fx) E, A#, D, G#, C#, F#

Hn. D# P Hn. D

Pno. Fx S Pno. G# & Pno.

F#

E has no transformation

360 537 m2 P4, C(E) F, B, E, A, D, G

Bsn. E P Bsn. F

Pno. F# P Pno. G

Pno. G# P Pno. A

Pno. D C Pno. E

Pno. A# P Pno. B

C# moves to B

361 537b M6 P2, C(C) D, G#, C, F#, B, E Hn. G P Hn. G#

Vln. E P Vln. E

Hn. B C Cl. C

362 538 m2 P3, C(D) E, A, D, G, C, F

Cl. E P Cl. F

Cl. C C Cl. D

Cl. G# P Cl. A

B. Cl. D P B. Cl. E

363 538b m3 P2 F#, B#, E, A#, D#, G#

Cl. F P Cl. F

Cl. A P Cl. A

F# & A# have no

transformations

364 539 m2 P4, C(F) G, C#, F, B, E, A

Pno. B P Pno. B

Pno. C P Pno. C#

Pno. F C Pno. F

Pno. A P Pno. A

B. Cl. G P B. Cl. G

365 539b M6 P2, C(D) E, A#, D, G#, C#, F# Cl. C# C Cl. D

Cl. A P Cl. A#

Vln. F P Vln. F#

366 540 m2 P3, C(E) F, B, E, A, D, G

Hn. F# P Hn. G

Hn. A# P Hn. B

Hn. D C Hn. E

Hn. E P Hn. F

367 540b m3 P2 A, D, G, C, F, B

Vln. G P Vln. G

Hn. B P Hn. B

A & C have no

transformations

368 541 m3 S(B), S(D) B, E#, A, D#, G#, C#

Hn. B S Hn. A & Hn. B

Pno. D S Pno. D# & Pno.

C#

369 541b m3 S(C#), S(E#) D, G#, C, F#, B, E

Hn./Pno. C# S Pno. C &

Hn. D

Pno. E# S Pno F# & Pno.

E

89

Ch

ord

#

Mea

sure

#

Inte

rval

Transformation MC Notes Comments

370 541-543 M7 P2, S(E), C(A#) C#, Fx, B, E#, A#, D#

Hn./Vln. E S Vln. E# &

Cl. E

Vc. D P Vla. C#

Pno. G# P Cl. G

Pno. B C Ob. A#

371 544-549 m2 P4, C(C) D, G#, C, F#, B, E

Pno. E# P Pno. F#

Pno. B C Pno. C

Pno. C# P Pno. D

Fl. D# P Fl. E

Cl. B P Cl. G#

372 550-551 M7 P2, S(F#), C(A#) C#, Fx, B, E#, A#, D#

Ob. B C Ob. A#

Vla. C P Hn. C#

Pno. F# S Pno. E# & Pno.

Fx

Vln. E P Pno. D#

373 551b TT P2 G, C#, F, B, E, A Pno. A# P Pno. A

Pno. D# P Pno. E

374 552-553 TT P2 C#, Fx, B, E#, A#, D# Pno. A P Pno. B

Pno. E P Pno. E

375 553b TT P2 G, C#, F, B, E, A Pno. A# P Pno. A

Pno. D# P Pno. E

376 554 TT P2 C#, Fx, B, E#, A#, D# Pno. A P Pno. B

Pno. E P Pno. E

377 544b d7 P1, C(A) B, E, A, D, G, C Vln. B P Vln. C

Cl. G C Cl. A

E has no transformation

378 555 M3 D, G#, C, F#, B, E D, F# & B have no

transformations

379 556 M7 P4, C(A#) C#, Fx, B, E#, A#, D#

Bsn. D P Bsn. C#

Hn. E P Hn. D#

Hn. G# P Hn. Fx

Pno. B C Pno. A#

Pno. F# P Pno. E#

380 556b m3 P1, S(Fx) E, A#, D, G#, C#, F#

Hn. D# P Hn. D

Pno. Fx S Pno. G# & Pno.

F#

E has no transformation

381 557 m2 P4, C(E) F, B, E, A, D, G

Bsn. E P Bsn. F

Hn. F# P Hn. G

Hn. A# P Hn. B

Hn. D C Hn. E

Pno. G# P Pno. A

382 557b m3 P1, S(B) A, D, G, C, F, B

Pno. G P Pno. G

Pno. B S Pno. B & Pno.

C

A has no transformation

90

Ch

ord

#

Mea

sure

#

Inte

rval

Transformation MC Notes Comments

383 558 M2 P2 B, E, A, D, G, C Pno. G P Pno. G

Pno. F P Pno. E

384 559 TT P2 E, A#, D, G#, C#, F# Pno. C P Pno. C#

Pno. G P Pno. F#

385 560-561 M6 P1, S(F#) C#, Fx, B, E#, A#, D#

Hn./Pno. F# S Pno. Fx &

Hn. F

Cl. D P Cl. D#

B remains from the

previous chord

386 562 M2 P2 E, A, D, G, C, F Pno. A# P Pno. A

Pno. B P Pno. C

387 563 TT P2 A , D#, G, C#, F#, B Pno. F P Pno. F#

Pno. C P Pno. B

388 564-565 M6 P3 F#, B#, E, A#, D#, G#

Ob. C# P Ob. B#

Hn. B P Hn. B

Pno. G P Pno. G#

E remains from previous

chord

389 566 m6 C(B) D, G#, C, F#, B, E Fl. B# C Fl. B

D has no transformation

390 567 m6 C(G) B, E, A, D, G, C Ob. G# C Ob. G

B has no transformation

391 568-569 M3 P1, C(B) D, G#, C, F#, B, E Ob. C C Ob. B

Ob. G P Ob. F#

392 570-573 M7 P1, S(E), C(A#) C#, Fx, B, E#, A#, D#

Ob. B C Ob. A#

Pno. C P Pno. C#

Vln. E S Vln. E# & Vln.

D#

Fx has no transformation

393 574 d7 P3 B, E, A, D, G, C Ob. F P Fl. E

Vln. A P Vln. A

Vla. D P Vla. D

394 574b TT P1, C(C#) E, A#, D, G#, C#, F# Fl. G P Pno. F#

Pno. D C Pno. C#

395 575 M6 P3, C(C) C#, Fx, B, E#, A#, D#

Fl. G# P Fl. G

Hn. F# P Hn. E#

Pno. D P Pno. D#

Ob. A# C Ob. C

E deleted

396 576 M2 P2 E, A, D, G, C, F Fl. C P Fl. C

Fl. A# P Fl. A

397 576b TT P1, C(F#) A , D#, G, C#, F#, B Pno. G C Pno. F#

Fl. C P Ob. B

91

Ch

ord

#

Mea

sure

#

Inte

rval

Transformation MC Notes Comments

398 577 M6 P3 F#, B#, E, A#, D#, G#

Fl. C# P Fl. B#

Ob. G P Ob. G#

Hn. B P Hn. B

E remains from previous

chord

399 578 M7 P4 F, B, E, A, D, G

Vc. F# P Vc. F

Vc. B# P Vc. B

Vla. A# P Vla. A

Pno. G# P Pno. G

400 579 m2 P3, S(E) E, A#, D, G#, C#, F#

Fl. B P Fl. A#

Ob. G P Ob. F#

Hn. A P Hn. G#

Hn./Cl. E S Cl. E & Hn.

D

401 580 M7 P3, S(F#) E, A, D, G, C, F

Picc. A# P Picc. A

Fl. D P Fl. D

Pno./Ob. F# S Ob. G &

Pno. F

Vc. E P Vc. E

C has no transformation

402 581 M7 P3 D, G#, C, F#, B, E

Fl. A P Fl. G#

Cl. F P Cl. F#

Vc. E P Vc. D

E has no transformation

403 581b m6 C(G) B, E, A, D, G, C Fl. G# C Fl. G

B has no transformation

404 582 m3 P1, C(B) D, G#, C, F#, B, E Ob. C C Ob. B

Pno. G P Vln. F#

405 583 M7 P1, S(E), C(A#) C#, Fx, B, E#, A#, D#

Ob. B C Ob. A#

Pno. C P Pno. C#

Vln./Cl. E S Cl. E & Vln.

E#

G remains from previous

chord

406 584 P5 S(C#), S(Fx) A, D, G, C, F, B

Vc./Bsn. C# S Bsn. D &

Vc. C

Bsn. Fx S Bsn. A & Bsn.

G

407 585 TT D, G#, C, F#, B, E E has not transformation

408 585b m6 C(G) B, E, A, D, G, C Picc. G# C Picc. G

B has no transformation

409 586 M3 C(B) D, G#, C, F#, B, E Ob. C C Ob. B

F# has no transformation

410 587 M7 P1, S(E) C#, Fx, B, E#, A#, D#

Vln./Cl. E S Cl. E & Vln.

E#

Pno. C P Pno. C#

G & A# remain from

92

Ch

ord

#

Mea

sure

#

Inte

rval

Transformation MC Notes Comments

previous chord

411 588 P5 S(C#), S(Fx) A, D, G, C, F, B

Vc./Bsn. C# S Bsn. D &

Vc. C

Bsn. Fx S Bsn. A & Bsn.

G

412 589 P4 P2, S(Fx), C(B) C#, Fx, B, E#, A#, D#

w/o Luce

Bsn. A & Bsn. G S Bsn.

Fx

Ob. D P Ob. D#

Vc. C P Vc. C#

Vln. B C Vln. B

413 590-601 P6 S(Fx), S(C#) A, D, G, C, F, B

Bsn. Fx S Bsn. A & Bsn.

G

Vc. C# S Vc. C & Vc. D

414 602-606 m7 P1 F# Major Fl. F P Fl. F#

93

APPENDIX B

VOICE LEADING DIAGRAMS

Diagram 1 (mm. 1-86)

Diagram 2 (mm. 87-148)

94

Diagram 3 (mm. 149-201)

Diagram 4 (mm. 202-211)

95

Diagram 5 (mm. 212-219)

Diagram 6 (mm. 220-228)

96

Diagram 7 (mm. 229-240)

Diagram 8 (mm. 241-260)

97

Diagram 9 (mm. 301-308)

Diagram 10 (mm. 309-328c)

98

Diagram 11 (mm. 328d-336)

Diagram 12 (mm. 337-344)

99

Diagram 13 (mm. 345-354)

Diagram 14 (mm. 355-370)

100

Diagram 15 (mm. 371-408)

Diagram 16 (mm. 409-415)

101

Diagram 17 (mm. 415b-450)

Diagram 18 (mm. 451-458)

102

Diagram 19 (mm. 549-589)

103

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